Bowl

Ogata Kenzan, Ogata Korin’s (1658-1716) younger brother, studied pottery with Nonomura Ninsei (about 1648–1690). What makes Ogata Kenzan such a distinguished member of the Rimpa movement is his technique of painting with enamels on ceramics, taking advantage of its three dimensionalities to emphasise the rhythm and boldness of a chosen motif. Colour adds volume and gives the pieces the stylised naturalism of Rimpa aesthetic.

In early 17th century, the new military government in Edo (Tokyo) soon presented a serious challenge to the imperial city of Kyoto. Emperor Go-Mizunoo (1596-1680) was central to a cultural movement shared by courtiers, the literati and wealthy merchants which countered this flourishing rival and new political power.

Hon’ami Koetsu (1558–1637) was a key figure in this cultural revival. As a poet Koetsu wrote on beautifully decorated papers and had Tawaraya Sotatsu (died about 1640), who headed a painting studio, create innovative designs. After 1621, Sotatsu channelled his creativity towards painting, devising new techniques and compositions, which inspired many future artists. One such artist, by far the most visionary and original contributor to the Rimpa style, was Ogata Korin (1658–1716).

The word ‘Rimpa’, literally ‘school of Korin’, is a modern term referring to all the arts by Ogata Korin and his followers. In the early European frenzy of Japonisme, Korin was immediately recognized as ‘the most original, and the most Japanese of the Japanese painters’.