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31. The provenance of Irises at Yatsuhashi is discussed in noguchi 46. The screens are now in The Cleveland Museum of Art; 59. For a discussion of okakura’s attempts to shape the
Takeshi, “Thoughts on the Eight Bridges Screens,” in nezu see Christine Guth, “Watanabe Shikō’s Irises, ” Bulletin of nihonga movement, see Victoria louise Weston, Japanese
Museum, “Irises” and “Eight Bridges,” pp. xii – xiii. the Cleveland Museum of Art 71, no. 7 (September 1984), Painting and National Identity: Okakura Tenshin and His
32. nakamachi, “Development of Kōrin’s Art and the Irises pp. 240 – 51. Circle (Ann Arbor: University of Michigan Press, 2004).
Screens,” and noguchi, “Yatsuhashi zu byōbu ni kansuru 47. Saitō Mahito, “Watanabe Shikō kusabana zu ni mirareru The most comprehensive and authoritative introduction
kansho,” pp. xii – xiv; see also note 37 below, in which noguchi Ryūkyū shokubutsu: Satsuma eshi Kimura Tangen to to nihonga in English is Ellen P. Conant, Nihonga: Tran-
mentions Tamamushi Satoko’s discovery of a sketchbook, no kankei o fumaete,” Bijutsushi 56 (October 2006), scending the Past; Japanese-Style Painting, 1868 – 1968, exh.
dated 1822, with an illustration of Irises at Yatsuhashi, which pp. 31 – 45. cat. (St. louis: St. louis Art Museum; Tokyo: Japan Foun-
is included with two other paintings known to have been 48. For a brief biography of Roshū and a list of his known cor- dation, 1995).
owned by the Fuyuki family. pus, see Yamane, “Formation and Development of Rimpa 60. For instance, in Hayami Gyoshū’s famous Dance of Flames,
33. For a summary of this argument, see noguchi, “Yatsuhashi Art,” p. 42. showing butterflies fluttering over a glowing fire, the highly
zu byōbu ni kansuru kansho,” pp. xii – xiv. 49. Versions by Roshū on the theme include six-panel folding formalized depiction of flames is reminiscent of how Rinpa
34. Yamane, naitō, and Clark, Rimpa Art from the Idemitsu screens in the collections of the Tokyo national Museum artists depicted swirling waves; see Tokyo national Museum,
Collection, Tokyo, no. 41. and The Cleveland Museum of Art and a two-panel folding Kindai Nihon bijutsu no kiseki, exh. cat. (Tokyo: nihon
35. nakamachi (“Development of Kōrin’s Art and the Irises screen in the Asian Art Museum, San Francisco. Bijutsuin, 1998), no. 156. Similarly, works by Maeda Seison
Screens,” p. E-27) quotes Kōrin as having seen numerous 50. For a study of Hōitsu’s career, see the magisterial work of demonstrate a deep awareness of the Rinpa aesthetic; see,
scrolls by Sesshū and as having copied some of them. Tamamushi Satoko, Toshi no naka no e: Sakai Hōitsu no e.g., ibid., nos. 83, 144.
36. Yamane, “Formation and Development of Rimpa Art,” p. 30. kaiji to sono efekuto (Kunitachi: Buryukke, 2004); see also 61. For examples of the mōrōtai style by Taikan and Shunsō, see,
37. Introduced in Tamamushi Satoko, Motto shiritai Sakai Hōitsu: the comprehensive array of Hōitsu works illustrated in e.g., ibid., nos. 50, 53, and 134.
Shōgai to sakuhin (Tokyo: Tōkyō Bijutsu, 2008), where the Sakai Hōitsu ten kaisai jikkō iinkai, ed., Sakai Hōitsu to Edo 62. Siegfried Wichmann, Japonisme: The Japanese Influence on
author mentions that it was probably created about 1815, or Rinpa no zenbō / Sakai Hōitsu ten kaisai jikkō iinkai (Tokyo: Western Art in the 19th and 20th Centuries, trans. Mary
around the same time that Hōitsu was compiling the first Kyūryūdo, 2011), nos. 142 – 53. An even more impressive Whitall et al. (new York: Harmony Books, 1981), especially
edition of One Hundred Paintings of Kōrin. See also Matthew array of works from American collections has been brought pp. 302 – 57, the section on ceramics and glass.
P. McKelway, Silver Wind: The Arts of Sakai Hōitsu, 1761 – together for an exhibition at the Japan Society, new York, 63. See Fredric T. Schneider, The Art of Japanese Cloisonné
1828 (new York: Japan Society Gallery; new Haven: Yale in 2012; see McKelway, Silver Wind: Arts of Sakai Hōitsu. Enamel: History, Techniques, and Artists, 1600 to the Present
University Press, 2012). 51. See the section on Buddhist paintings in Sakai Hōitsu (Jefferson, n.C.: McFarland & Company, 2010), pp. 63 – 64.
38. Kōrin’s rendition of Wind and Thunder Gods is in Tokyo ten kaisai jikkō iinkai, Sakai Hōitsu to Edo rinpa no zenbō¸ The artist Asai Chū (1857 – 1907), for example, who had stud-
national Museum; his interpretation of Waves at Matsushima nos. 142 – 53. ied Western-style painting with Antonio Fontanesi at the
is in the Museum of Fine Arts, Boston. 52. Rosenfield and Cranston, Extraordinary Persons, vol. 3, Kōbu Art School (Kōbu Bijutsu Gakkō), visited the Paris
39. Tani Bunchō, quoted in Kobayashi Tadashi, “Edo jidai no p. 82. Exposition while studying in Paris in 1900 – 1902, and his
bunken ni miru Rinpa,” in Rimpa Arts: Transmission and Con- 53. Frank Feltens, “Exhibit, Publish, Copy: Sakai Hōitsu and exposure to Art nouveau made him look to Rinpa for artistic
text; Conference Papers (london: British Museum and School the Kōrin hyakuzu,” unpublished essay. inspiration upon his return to Japan.
of oriental and African Studies, University of london, 1998), 54. In 1951, with Japan still in the process of rebuilding itself 64. A short article in The New York Times (“Mikado Honors
p. 163; translation by John T. Carpenter. Although Bunchō after the devastation of the Second World War, Tokyo Hy. Mayer,” July 3, 1906, p. 1) explains the circumstances
states that Kōrin studied under Kano Yasunobu, other records national Museum mounted an exhibition called the Sōtatsu- under which the cloisonné vases were presented by the
show that the Kano painter Yamamoto Soken was his Kōetsu ha. While the “Sōtatsu-Kōrin school” might make the Meiji emperor to Mayer: “Henry Mayer last november
teacher, as mentioned earlier in this essay. most sense from the point of view of painting, the word forwarded to Tokio as a gift to the Mikado the originals
40. For works by ninsei that are illustrated in the round, see “Rinpa” in all its abbreviated ambiguity really embraces the of his drawings on the Russo-Japanese war, which had
nicole Coolidge Rousmaniere, ed., Kazari: Decoration and entire movement. It is noteworthy that two decades later, appeared in The New York Times. He has just received word
Display in Japan, 15th – 19th Centuries, exh. cat. (new York: Tokyo national Museum had switched to “Rinpa” to refer to that the Mikado has accepted the gift, and as a return cour-
Japan Society, 2002), no. 55; Yamane, naitō, and Clark, Rimpa the school, and since then the name has become a familiar tesy has sent him a pair of Japanese cloisonné vases with
Art from the Idemitsu Collection, Tokyo, no. 53. shorthand among specialists and the museum-going public the imperial crest thereon. Mr. Mayer is asked to accept the
41. Wilson, Art of Ogata Kenzan, pp. 162 – 91. in Japan. vases as a token of the Mikado’s appreciation of his picto-
42. James C. Y. Watt and Barbara Brennan Ford, East Asian 55. Tawaraya’s reception in the West was also somewhat con- rial sentiments.”
Lacquer: The Florence and Herbert Irving Collection, exh. cat. fused, since his name is superficially similar to that used 65. The illustrations for the first volume were originally issued
(new York: The Metropolitan Museum of Art, 1991), no. 136. early in his career by the celebrated Katsushika Hokusai on a subscription basis between 1899 and 1900. The first
The sheet has an oval intaglio seal reading “Kōrin,” which is (“Tawaraya Sōri II”), who studied under a Rinpa master; complete, bound volume came out in September 1900, the
found on other sketches preserved by the Konishi family, in addition, Tawaraya Sōri III was one of Hokusai’s earli- second volume the following year, and the third volume
direct descendants of Kōrin’s adopted son. est pupils. in 1903. For more information on Sekka’s illustrated
43. The “Kōrin moyō ” phenomenon is discussed in detail in 56. Quoted in Sakakibara Yoshirō, “A Study of Kamisaka book masterpieces, see Andreas Marks, Kamisaka Sekka:
nagasaki Iwao, “Kōrin moyō no ryūkō to haikei,” in Kōrin Sekka,” in Donald Wood et al., Kamisaka Sekka: Rinpa Rinpa Traditionalist, Modern Designer (San Francisco:
dezain (Kyoto: Tankōsha, 2005). See also Oyama Yuzuruha, no keishō / Kamisaka Sekka: Rimpa Master, Pioneer of Mod- Pomegranate, 2012).
“Kōrin moyō,” Nihon no bijutsu, no. 524 (2010). The first ern Design, exh. cat. (Kyoto: Kyōto Kokuritsu Kindai 66. The poem is signed with only the given name nobuyuki, and
reference to a Kōrin pattern book dates to 1712, when Kōrin Bijutsukan, 2003), p. 23. The original Japanese title is I was unable to find any identification of this poet else-
was still alive. Hiinagata kiku no i (Patterns Drawn from the “Shumi no kakumeisha to shite no Kōrin,” published in where. In searching for Kyoto-based waka poets of the time,
Chrysanthemum Well), published in 1716, includes triangular the journal Geien. I did, however, come across the name Sugawa nobuyuki
patterns similar to those of the Metropolitan’s fragments. 57. For discussions of evolving critical reactions to Rinpa in (須川信行) and was able to confirm the identity by com-
My thanks to Joyce Denney for bringing the article by modern times, see Clark, “‘Intuition and the Genius of Dec- paring verifiable examples of his calligraphy with that in
nagasaki Iwao to my attention and for sharing a draft of oration’: Critical Reactions to Rimpa Art,” pp. 68 – 82; and Sekka’s volume.
her English translation with me. Tamamushi Satoko, “Rinpa: The Past, Present, and Future,” 67. The British Museum, Kayama Matazō: New Triumphs for
44. nagasaki, “Kōrin moyō.” in The Arts of Japan: An International Symposium, ed. Miyeko Old Traditions, exh. cat. ([Tokyo]: nihon Keizai Shimbun,
45. The same fabric, patterning, and dyeing techniques were Murase and Judith G. Smith (new York: The Metropolitan 1996).
used to make a robe mounted as screens (kosode byōbu) from Museum of Art, 2000). 68. Kayama Matazō, “Myself and Nihon-ga,” in British designing nature
the nomura Collection in the national Museum of Japanese 58. Cited in Clark, “‘Intuition and the Genius of Decoration’: Museum, Kayama Matazō: New Triumphs for Old Traditions,
History, Sakura City, Chiba Prefecture. An inscription on Critical Reactions to Rimpa Art” pp. 68 – 82. Gonse originally p. 137.
the lining mentions that the work was donated to a temple in published these comments in “Korin,” Artistic Japan, no. 23
1740, providing a useful terminal date for their production. (March 1890), p. 287.

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