Ball: Rimpa school

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Spring Landscape, unknown Rimpa school painter, 18th century, six-screen ink and gold on paper.

Rimpa (?? ,Rimpa or Rinpa?), is one of the major historical schools of Japanese painting. It was created in 17th century Kyoto by Hon'ami K?etsu (1558-1637) and Tawaraya S?tatsu (d. c.1643). Roughly fifty years later, the style was consolidated by brothers Ogata K?rin and Ogata Kenzan.

The term impa itself is an amalgamation of the last syllable from ?rin with the word for (school (? ,ha or pa?), coined in the Meiji period. Previously, the style was referred to variously as the K?etsu school (???K?etsu-ha ?), or K?etsu-K?rin school (????? ,K?etsu-K?rin-ha?), or the S?tatsu-K?rin school (????? ,S?tatsu-K?rin-ha?).

Contents

1 History

2 Later development

3 Modern Rimpa

4 Style

5 Notable Rimpa artists

6 References

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History

portion of S?tatsu's F?jin Raijin-zu

Hon'ami K?etsu founded an artistic community of craftsmen supported by wealthy merchant patrons of the Nichiren Buddhist sect at Takagamine in northeastern Kyoto in 1615. Both the affluent merchant town elite and the old Kyoto aristocratic families favored arts which followed classical traditions, and K?etsu obliged by producing numerous works of ceramics, calligraphy and lacquerware.

His collaborator, Tawaraya S?tatsu maintained an atelier in Kyoto and produced commercial paintings such as decorative fans and folding screens. S?tatsu also specialized in making decorated paper with gold or silver backgrounds, to which K?etsu assisted by adding calligraphy.

Both artists came from families of cultural significance; K?etsu came from a family of swordsmiths who had served the imperial court and the great warlords, Oda Nobunaga and Toyotomi Hideyoshi, in addition to the Ashikaga sh?guns. K?etsu's father evaluated swords for the Maeda clan, as did K?etsu himself. However, K?etsu was less concerned with swords as opposed to painting, calligraphy, lacquerwork, and the Japanese tea ceremony (he created several Raku Ware tea bowls.) His own painting style was flamboyant, recalling the aristocratic style of the Heian period.

S?tatsu also pursued the classical Yamato-e genre as K?etsu, but pioneered a new technique with bold outlines and striking color schemes. One his most famous works are the folding screens ind and Thunder Gods" (????? ,F?jin Raijin-zu?) at Kennin-ji temple in Kyoto and "Matsushima" ( ?? ?) at the Freer Gallery.

Later development

portion of Ogata K?rin's K?hakubai-zu

The Rimpa school fell into neglect in the early Edo period, but was revived in the Genroku era (1688-1704) by Ogata K?rin and his younger brother Ogata Kenzan, sons of a prosperous Kyoto textile merchant. K?rin's innovation was to depict nature as an abstract using numerous color and hue gradations, and mixing colors on the surface to achieve eccentric effects, as well as liberal use of precious substances like gold and pearl.

His masterpiece "Red and White Plum Trees" (???? , K?hakubai-zu?) c. 1714/5, is now at the MOA Museum of Art in Atami, Shizuoka. A dramatic composition, it established the direction of Rimpa for the remainder of its history. K?rin collaborated with Kenzan in painting designs and calligraphy on his brother's pottery. Kenzan remained as a potter in Kyoto until after K?rin's death in 1716 when he began to paint professionally. Other Rimpa artists active in this period were Tatebayashi Kagei, Tawaraya Sori , Watanabe Shiko, Fukae Roshu and Nakamura Hochu.

Modern Rimpa

Rimpa was revived in 19th century Edo by Sakai H?itsu (1761-1828), a Kan? school artist whose family had been one of Ogata K?rin sponsors. Sakai published a series of 100 woodcut prints based on paintings by K?rin, and his painting "Summer and Autumn Grasses" (???? ,Natsu akikusa-zu?) painted on the back of K?rin "Wind and Thunder Gods screen" is now at the Tokyo National Museum.

Sakai had numerous students who carried the movement forward into the late 19th century, when it was incorporated into the Nihonga movement by Okakura Kakuzo and other painters. The influence of Rimpa was strong throughout the early modern period, and even today Rimpa-style designs are popular.

Style

Rimpa artists worked in various formats, notably screens, fans and hanging scrolls, woodblock printed books, lacquerware, ceramics, and kimono textiles. Many Rimpa paintings were used on the sliding doors and walls (fusuma) of noble homes.

Subject matter and style were often borrowed from Heian period traditions of yamato-e, with elements from Muromachi ink paintings, Chinese Ming dynasty flower-and-bird paintings, as well as Momoyama period Kan? school developments. The stereotypical standard painting in the Rimpa style involves simple natural subjects such as birds, plants and flowers, with the background filled in with gold leaf....(and so on)