Page 91 - Edo: Art in Japan, 1615–1868

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Ogata Kórin (1658-1716) Kosode with net pattern, chrysanthemums, Kosode with water, larch /lowers,
Kosode with autumn /lowers and grasses and characters and wisteria

Early eighteenth century 1668/1704 First half of eighteenth century
Hand-painted ink and color Tie-dyeing, stenciled imitation tie- Tie-dyeing, stenciled imitation
on silk twill dyeing, and silk and metallic thread tie-dyeing, silk and metallic thread
147.2x130.2 (58x5174) embroidery on figured silk satin embroidery, and ink on figured
3
Tokyo National Museum 158.5x139.6 (62 /sx55) silk satin
:
Important Cultural Property Tokyo National Museum i6ox 120 (63 x47 /4)
Tokyo National Museum
Illustrated page 54
• The design of this Genroku-era
kosode maintains vestiges of the • The design layout of this kosode is
90 • Artists known for their paintings on
screens and scrolls sometimes devoted dynamic curved layout established on characteristic of the Genroku era.
While still concentrated on the right
earlier Kanbun-style examples (see
their talents to decorating kosode. One
cat. 5). A striking fishing-net pattern side of the garment, the motifs begin
of the more celebrated artists to turn rendered in dark indigo tie-dyeing to encroach on the vast negative
his attention to these garments was (kanoko shibori) is strategically space that would have been seen on
Ogata Kórin, who was equally skilled placed across the upper back from the Kanbun-era kosode. Tie-dyed (kanoko
at calligraphy, painting, and the left to the right sleeve, at the right shibori), stenciled imitation tie-dyed
applied arts. It is believed that he was
commissioned to paint this kosode hip, and near the lower-left hem. The (kata kanoko), and ink-painted larch
net pattern brings to mind images of flowers appear magnified and robust.
at the height of his career, when he
was staying with the Fuyuki family, the ocean or flowing water. The addi- The center of each flower is embel-
lished with three circular forms
suggests
tion of chrysanthemums
prosperous timber merchants from longevity and can be traced to a pop- filled with gold embroidery threads
the Fukagawa area of Edo. This unique ular legend of the Chrysanthemum laid and stitched down. The black
piece is evidence of the degree of Boy (Kikujidô), who drank the dew of ink flowers are further outlined with
wealth reached by the merchant class chrysanthemum petals and became couched gold thread. Wisteria blos-
during the Edo period. Subtle and soms, embroidered in either silk or
refined compared to other examples immortal. gold thread, hang downward, while
of the time, this robe, with its fragile Like the flowers on this robe, the the jagged edges of the diagonal blue
painted decoration, is the essence Chinese characters are rendered in tie-dyed area along the right side of
of quiet elegance (ifci). either embroidery or a stenciled the kosode also aim toward the hem.
imitation tie-dye technique (kata
Kôrin's delicate brushstrokes portray kanoko). This type of stenciling was In this design of playful visual am-
lifelike chrysanthemums, bush clover, biguity, the blue of the diagonal area
Japanese pampas grass, and Chinese developed as a substitute for the labor suggests water, while its tie-dyed
intensive
and therefore expensive tie-
bellflowers. Though the plants are dyeing technique that was the subject pattern resembles wood grain. SST
arranged in a seemingly carefree man- of a sumptuary law in 1683 intended
ner, they are beautifully balanced to squelch the ostentatious display of
with the form of the garment. It seems wealth by the townspeople. This luxu-
that Kórin painted the robe after it rious robe not only gave evidence of
was sewn together, unlike typical the owner's wealth but also displayed
dyed and embroidered kosode. It is the wearer's wit, imagination, and
difficult to know whether the less literacy — and tested the visual and
ornate space at the waistline was a literary acumen of the viewer. SST
fortuitous outcome of Korin's creativ-
ity or if he was cognizant that fashion-
able kosode design of the day left
a blank area around the waistline, a
stylistic response to the widening
of the obi, which began in the Genroku
era. SST