The Tales of Ise | Isemonotagari Akutagawa by Sotatsu Tawaraya 俵屋宗達 | Print #555
Sōtatsu Tawaraya (俵屋宗達, Around 1570 - around 1640) was a Japanese-style painter. Rinpa painter. Born in Kyoto pref. or Ishikawa pref.; son of a wealthy merchant named Tawaraya whose studio made fans as well as pictures to be placed on folding screens. His teacher unknown. First worked in Kyoto with Kōetsu Hon-ami, perhaps marrying his cousin. By 1630 had received title of hokkyō. Won favor of Kyoto nobility, first artist from the merchant class to achieve this distinction. Mastered art of yamato-e, studied early Chinese painting, also painted in suiboku manner. Is known to have restored the 12th-century sutras of the Itsukushima Shrine. Painted subjects from the Genji Monogatari, the Heike Monogatari, and the Ise Monogatari; decorated fans with scenes borrowed from the narrative scrolls of the Kamakura and Muromachi periods. Much influenced by Kōetsu Honami, under whose tutelage he made the Rinpa school, one of the greatest and most individual in all Japanese art.
Sōtatsu Tawaraya is considered to be an artist who was modeled by Kōrin Ogata and the founder of the Rinpa school of art; however, there was not a high general opinion of his work through to the Meiji Period (to July 1912), with Korin's paintings being considered to be of a higher grade. For this reason, many of his works, including his famous Matsushima-zu Byobu (a folding screen: Waves at Matsushima) were exported overseas. In 1913, he was rediscovered at the Tawaraya Sōtatsu Kinenkai exhibition by the Nihon Bijutsukyōkai, and recent research has given him his rightful place as a great creative master of the decorative school.
Wind God and Thunder God (紙本金地著色風神雷神図) is a pair of two-folded screens made using ink and color on gold-foiled paper. It depicts Raijin, the god of lightning, thunder and storms in the Shinto religion and in Japanese mythology, and Fūjin, the god of wind. The screens have no inscription or seal, but its attribution to Tawaraya Sotatsu is not questioned. It is a particularly prominent work in the Rinpa school because two other of its major figures, Kōrin Ogata (1658–1716) and Hōitsu Sakai (1761–1828), replicated the painting in homage. All three versions of the work were displayed together for the first time in seventy-five years in 2015, at the Kyoto National Museum exhibition "Rinpa: The Aesthetics of the Capital". Other than his famous huge decorative screen painting Wind God and Thunder God, he has some works in water ink. Sōtatsu's famous water ink work Renchi Suikin-zu (Waterfowl in Lotus Pond) was drawn using the tarashikomi technique--a technique that achieves shading through the pooling of successive layers of partially dried pigment for a coincidental effect.
His seal Inen 伊年 was used by many of his followers, thereby causing endless confusion in the game of attributions.
The Tales of Ise
The Tales of Ise (伊勢物語 Ise monogatari) is a Japanese uta monogatari, or collection of waka poems and associated narratives, dating from the Heian period. The current version collects 125 sections, with each combining poems and prose, giving a total of 209 poems in most versions.
Concerning the exact date of composition and authorship there is only unresolved speculation. The identity of the nameless, idealised central character is unclear, though it is suggested to be Ariwara no Narihira (825–880). Thirty of the poems from The Tales of Ise appear in the Kokin Wakashū (905), with similar headnotes, all attributed to Narihira. The combination of these poems, and the similarity of some events in the tales to Narihira's life, have led to the additional suggestion that Narihira actually composed the work; however, the inclusion of material and events dating after 880 suggests otherwise.
Detail
Condition: New | Print | Made in Japan
*The painting part is ALL PRINTED!!
Size: 210 mm x 250 mm
Material of the Main Artwork: Paper
The “kakejiku” is a Japanese hanging scroll; it is a work of painting or calligraphy, which is usually mounted with silk fabric edges on flexible backings. The kakejiku can be rolled for storage.
When compared to the “makimono,” which is meant to be unrolled laterally on a flat surface, the kakejiku is intended to be hung against a wall as part of the interior decoration of a room. It is traditionally displayed in the “tokonoma” alcove of a room, which is especially designed to exhibit prized objects. It can also be displayed in the most important room of the house, where a tea ceremony, or other traditional activities are performed. The kakejiku is also often hung in martial arts rooms called “doujou” (training rooms). Near the kakejiku, there are often other objects (“okimono”), such as swords (“katana”), dolls, “bonsai,” or flower arrangements (“ikebana”).
An essential aspect of the kakejiku is that it is not intended to be hung permanently; making it versatile in its placement. This means that it can be changed at frequent intervals. One of the pleasures of the kakejiku lies in selecting a suitable one, depending on occasions, guests, and seasons.
In contrast to the “byoubu” (folding screen), “shouhekiga” (wall paintings), or “tsuitate” (screen), the kakejiku can be easily and quickly changed to match the season or occasion.
When compared to the “makimono,” which is meant to be unrolled laterally on a flat surface, the kakejiku is intended to be hung against a wall as part of the interior decoration of a room. It is traditionally displayed in the “tokonoma” alcove of a room, which is especially designed to exhibit prized objects. It can also be displayed in the most important room of the house, where a tea ceremony, or other traditional activities are performed. The kakejiku is also often hung in martial arts rooms called “doujou” (training rooms). Near the kakejiku, there are often other objects (“okimono”), such as swords (“katana”), dolls, “bonsai,” or flower arrangements (“ikebana”).
An essential aspect of the kakejiku is that it is not intended to be hung permanently; making it versatile in its placement. This means that it can be changed at frequent intervals. One of the pleasures of the kakejiku lies in selecting a suitable one, depending on occasions, guests, and seasons.
In contrast to the “byoubu” (folding screen), “shouhekiga” (wall paintings), or “tsuitate” (screen), the kakejiku can be easily and quickly changed to match the season or occasion.
The “kakejiku” (hanging scroll) was introduced to Japan during the Heian period (794-1185), primarily for displaying Buddhist images for religious worship, or as a way to display calligraphy or poetry.
The original architecture of Japanese housing had developed considerably since the Muromachi period (1336-1573). In this newly developed architectural style, the Japanese-style room (called “washitsu”) became a room on whose floor tatami mats are laid, and it contains one special space that is called the “tokonoma” alcove. The most important feature of the tokonoma is the display of kakejiku. The tokonoma was regarded as a space which connects art and daily life; so landscapes, paintings of flowers and birds, portraits, and poetry became favorite themes.
During the Momoyama period (1573-1600) two great sovereigns were represented: Nobunaga Oda, and Hideyoshi Toyotomi. They liked “chanoyu” (tea ceremonies) very much. Tea ceremonies were usually performed in the room with the tokonoma alcove. A tokonoma architectural style was developed and established in this period. Accompanied with the development of tokonoma style, the techniques of painting and mounting were also developed, because the kakejiku was always displayed in the tokonoma. Moreover, when Sen no Rikyuu mentioned the importance of the kakejiku, the kakejiku became extremely popular among people who were fascinated with tea ceremonies.
There were only a few big wars during the Edo period (1603-1868) in Japan. The peacefulness of the Edo period allowed Japanese culture to reach full maturity. Many famous painters flourished and competed with each other. The kakejiku also became popular among the public.
After the Meiji period (1868-), many more painters competed with each other with their techniques, because people became absolutely free to choose their own occupations during this period. Before World War 2, and for a while after that war, most Japanese-style paintings were designed to be decorated on kakejiku.
The original architecture of Japanese housing had developed considerably since the Muromachi period (1336-1573). In this newly developed architectural style, the Japanese-style room (called “washitsu”) became a room on whose floor tatami mats are laid, and it contains one special space that is called the “tokonoma” alcove. The most important feature of the tokonoma is the display of kakejiku. The tokonoma was regarded as a space which connects art and daily life; so landscapes, paintings of flowers and birds, portraits, and poetry became favorite themes.
During the Momoyama period (1573-1600) two great sovereigns were represented: Nobunaga Oda, and Hideyoshi Toyotomi. They liked “chanoyu” (tea ceremonies) very much. Tea ceremonies were usually performed in the room with the tokonoma alcove. A tokonoma architectural style was developed and established in this period. Accompanied with the development of tokonoma style, the techniques of painting and mounting were also developed, because the kakejiku was always displayed in the tokonoma. Moreover, when Sen no Rikyuu mentioned the importance of the kakejiku, the kakejiku became extremely popular among people who were fascinated with tea ceremonies.
There were only a few big wars during the Edo period (1603-1868) in Japan. The peacefulness of the Edo period allowed Japanese culture to reach full maturity. Many famous painters flourished and competed with each other. The kakejiku also became popular among the public.
After the Meiji period (1868-), many more painters competed with each other with their techniques, because people became absolutely free to choose their own occupations during this period. Before World War 2, and for a while after that war, most Japanese-style paintings were designed to be decorated on kakejiku.
Why is the “kakejiku” (hanging scroll) replaced? The spirit of the tea ceremony, a traditional Japanese art, affects this Japanese custom deeply. There is a heart of hospitality called “omotenashi” in a tea ceremony. When Japanese people think about the mood of a tea ceremony, they take a lot into consideration. More specifically, they think about the various techniques they could use to make the mood the best. The kakejiku is displayed to express respect for guests indirectly, and is considered the most important tool in a tea ceremony. Therefore, the kakejiku is replaced depending on the occasions or seasons. The omotenashi heart makes them change the kakejiku.
The kakejiku developed during the Muromachi era (1336-1573) along with the development of tea ceremonies. As a result, people began to think that it was important to express the formality of the occasions to guests by displaying various kinds of kakejiku. Many customs of the kakejiku were derived from this type of thought in Japan.
Of course, many owners have their kakejiku for the purpose of enjoying themselves, and it is also part of fun to show their lovable kakejiku to their guests.
The kakejiku developed during the Muromachi era (1336-1573) along with the development of tea ceremonies. As a result, people began to think that it was important to express the formality of the occasions to guests by displaying various kinds of kakejiku. Many customs of the kakejiku were derived from this type of thought in Japan.
Of course, many owners have their kakejiku for the purpose of enjoying themselves, and it is also part of fun to show their lovable kakejiku to their guests.
There is a “tokonoma” alcove in a “washitsu” (traditional Japanese-style room), where a “kakejiku” (hanging scroll) is displayed. However there is very little furniture inside the room other than the kakejiku. The Japanese people don’t have a custom of hanging many paintings on the walls inside the room; they usually display a kakejiku only in the tokonoma, and replace it by another depending on the occasions, guests, and seasons.
It is said that this style of display contrasts with the Western style. Many paintings are often displayed on the walls of Western buildings, such as old European buildings or palaces. For example, if there are 100 paintings, it would be the Western style to display all 100 paintings on the walls. However, the Japanese people put all 100 paintings in a closet, and choose only one to display for a short term in its fixed place (tokonoma). Therefore, there is a clear difference in functions demanded from a painting between the West and Japan. In the West, painting needs a frame for durability because it is displayed for a long time. In Japan, however, a painting does not need so much protection because it is displayed only for a short time. Handiness and convenience are very important elements for a painting, because the Japanese people will change it frequently. It is also necessary not to take up the storage space. That is to say, the style, which satisfies the above conditions, is a kakejiku-style.
The kakejiku is rolled up when putting it away, and is opened while displaying it. As a result, flexibility and strength are needed to endure the process of displaying and putting it away. Therefore, the “honshi” (main work) is reinforced by backing it with another piece of paper, and cloths are attached around the honshi, and they are combined. This is a rough mounting process for the kakejiku. If the kakejiku is rolled up, this style prevents the honshi from creasing, tearing, and getting dirty. Even if the honshi is damaged or becomes dirty, the lifetime of the honshi and its aesthetic value can be kept for several hundred years by remounting the kakejiku.
The kakejiku is an ideal style; it enables the Japanese people to enjoy their paintings at their best.
It is said that this style of display contrasts with the Western style. Many paintings are often displayed on the walls of Western buildings, such as old European buildings or palaces. For example, if there are 100 paintings, it would be the Western style to display all 100 paintings on the walls. However, the Japanese people put all 100 paintings in a closet, and choose only one to display for a short term in its fixed place (tokonoma). Therefore, there is a clear difference in functions demanded from a painting between the West and Japan. In the West, painting needs a frame for durability because it is displayed for a long time. In Japan, however, a painting does not need so much protection because it is displayed only for a short time. Handiness and convenience are very important elements for a painting, because the Japanese people will change it frequently. It is also necessary not to take up the storage space. That is to say, the style, which satisfies the above conditions, is a kakejiku-style.
The kakejiku is rolled up when putting it away, and is opened while displaying it. As a result, flexibility and strength are needed to endure the process of displaying and putting it away. Therefore, the “honshi” (main work) is reinforced by backing it with another piece of paper, and cloths are attached around the honshi, and they are combined. This is a rough mounting process for the kakejiku. If the kakejiku is rolled up, this style prevents the honshi from creasing, tearing, and getting dirty. Even if the honshi is damaged or becomes dirty, the lifetime of the honshi and its aesthetic value can be kept for several hundred years by remounting the kakejiku.
The kakejiku is an ideal style; it enables the Japanese people to enjoy their paintings at their best.
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