ASIA212Varley

Not until the momoyama epoch and early tokugawa

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Unformatted text preview: o of his best-known works are screen paintings based on The Tale of Genji and on the bugaku form of dance that was popular during the Nara period. Sòtatsu was a superb master of his craft, not only in his use of a strong and sure brush line and in the matching of colors (including the characteristic gold-leaf backgrounds of the mature decorative style), but also in his sense of design and capacity to exploit to a greater degree than any who came before him the geometrics of screen painting. Such works as the Genji Screen are particularly striking to the modern viewer as studies in form and the placement of objects that seem extraordinarily similar in approach, if not subject matter, to those of Western artists from at least the time of Cézanne and the Post-Impressionists. Sòtatsu’s immediate followers were mere imitators, but the decorative school produced one more great master at the end of the seventeenth century in Ogata Kòrin (1658–1716).10 Like Sòtatsu and Kòetsu (to whom he was distantly related), Kòrin was the scion of a merchant family that had prospered in Kyoto since the Momoyama epoch and had even had personal and business ties with Hideyoshi and, later, the Tokugawa and imperial families. The Ogata were dealers in textiles, many richly decorated in styles that became popular for clothing during the late sixteenth and seventeenth centuries: no doubt Kòrin’s exceptionally 176 The Flourishing of a Bourgeois Culture powerful sense of design came in part from familiarity with the family wares. In fact, Kòrin himself later became one of the most widely imitated designers of the kosode (small sleeve) type of kimono that was a main item of clothing in the Tokugawa period. Kòrin’s great grandfather had married Kòetsu’s sister, and his grandfather had participated in the activities of an artists’ colony that Kòetsu founded at Takagamine in the outskirts of Kyoto. His father, Ogata Sòken, had also maintained the family interest in the Kòetsu-Sòtatsu school of art. But unfortunately, Sòken was less able than his predecessors to afford the leisure from business that the pursuit of art required, and it was during his time that t...
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This note was uploaded on 02/08/2013 for the course ANTH 142 taught by Professor Hans during the Spring '13 term at UBC.

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