Rinpa ( 琳派 , Rinpa ) is one of the major historical schools of Japanese painting . It was created in 17th century Kyoto by Hon'ami Kōetsu (1558–1637) and Tawaraya Sōtatsu (d. c.1643). Roughly fifty years later, the style was consolidated by brothers Ogata Kōrin (1658–1716) and Ogata Kenzan (1663–1743).
39-667: The term "Rinpa" is an abbreviation consisting of the last syllable from "Kōrin" with the word for school ( 派 , ha ) (with rendaku changing this to "pa"), coined in the Meiji period . Previously, the style was referred to variously as the Kōetsu school ( 光悦派 , Kōetsu-ha ) , or Kōetsu-Kōrin school ( 光悦光琳派 , Kōetsu-Kōrin-ha ) , or the Sōtatsu-Kōrin school ( 宗達光琳派 , Sōtatsu-Kōrin-ha ) . Hon'ami Kōetsu founded an artistic community of craftsmen supported by wealthy merchant patrons of
78-465: A morpheme . Therefore, no rendaku can occur if the second element already contains a voiced obstruent. This is considered to be one of the most fundamental of the rules governing rendaku . There are, however, exceptions to Lyman's law. For example, nawa + hashigo is nawabashigo, not nawahashigo. Although this law is named after Benjamin Smith Lyman , who independently propounded it in 1894, it
117-492: A voiceless consonant sound when used independently or as the first part of a compound. For example, kami ( 紙 , paper) starts with the voiceless consonant /k/ when used as an independent word, but this is replaced with the voiced consonant /ɡ/ when this morpheme is used as the second portion of the compound word origami . In modern Japanese, rendaku is common but at times unpredictable, with certain words unaffected by it. While kanji do not indicate rendaku , it
156-405: A bid to move away from the importance of the painted line from East Asian painting tradition. Because of this tendency to synthesize, it has become increasingly difficult to draw a distinct separation in either techniques or materials between Nihonga and Yōga . The artist Tenmyouya Hisashi (b. 1966) has developed a new art concept in 2001 called "Neo-Nihonga". Nihonga has a following around
195-601: A family of swordsmiths who had served the imperial court and the great warlords, Oda Nobunaga and Toyotomi Hideyoshi , in addition to the Ashikaga shōguns. Kōetsu's father evaluated swords for the Maeda clan , as did Kōetsu himself. However, Kōetsu 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
234-412: A form such as yamadori ( やまどり , copper pheasant) might go back to an original yama-no-tori "mountain- GEN bird". This explanation could help account for why rendaku is not found consistently in all compound words: if some compounds were originally formed with no or ni , but others were formed with simple juxtaposition of two roots, then rendaku would be expected to have arisen only in
273-414: A glue from fishbone or animal hide is used. If polychrome, the pigments are derived from natural ingredients: minerals , shells, corals , and even semi-precious stones like malachite , azurite and cinnabar . The raw materials are powdered into 16 gradations from fine to sandy grain textures. A hide glue solution, called nikawa , is used as a binder for these powdered pigments. In both cases, water
312-472: A more modern Japanese style came largely from many artist/educators, which included Shiokawa Bunrin , Kōno Bairei , Tomioka Tessai and art critics Okakura Tenshin and Ernest Fenollosa , who attempted to combat Meiji Japan's infatuation with Western culture by emphasizing to the Japanese the importance and beauty of native Japanese traditional arts. These two art critics, and in particular Tenshin who
351-451: A problem even to native speakers, particularly in Japanese names , where rendaku occurs or fails to occur often without obvious cause. In many cases, an identically written name may either have or not have rendaku , depending on the person. For example, 中田 may be read in a number of ways, including both Nakata and Nakada . In some cases, voicing of preceding consonants also occurs, as in sazanami ( 細波 , ripple) , which
390-431: Is marked in kana with dakuten (voicing mark). The voiced obstruent consonants of modern Japanese go back to prenasalized voiced obstruents of Old Japanese . Rendaku may have originated from the fusion of consonants with preceding nasal sounds derived from reduction of the genitive postpositional particle no ( の ) or the dative postpositional particle ni ( に ) : for example, according to this hypothesis,
429-666: Is now at the MOA Museum of Art in Atami, Shizuoka . A dramatic composition, it established the direction of Rinpa for the remainder of its history. Kōrin collaborated with Kenzan in painting designs and calligraphy on his brother's pottery. Kenzan remained as a potter in Kyoto until after Kōrin's death in 1716 when he began to paint professionally. Other Rinpa artists active in this period were Tatebayashi Kagei , Tawaraya Sori , Watanabe Shiko , Fukae Roshu and Nakamura Hochu . Rinpa
SECTION 10
#1732786874272468-453: Is really a re-discovery. The Edo period linguists Kamo no Mabuchi (1765) and Motoori Norinaga (1767–1798) separately and independently identified the law during the 18th century. Similar to Lyman's law, it has been found that for some lexical items, rendaku does not manifest if there is a voiced obstruent near the morphemic boundary, including preceding the boundary. Rendaku also tends not to manifest in compounds which have
507-686: Is used; hence nihonga is actually a water-based medium . Gofun (powdered calcium carbonate that is made from cured oyster , clam or scallop shells) is an important material used in nihonga . Different kinds of gofun are utilized as a ground, for under-painting, and as a fine white top color. Initially, nihonga were produced for hanging scrolls ( kakemono ), hand scrolls ( emakimono ), sliding doors ( fusuma ) or folding screens ( byōbu ). However, most are now produced on paper stretched onto wood panels, suitable for framing. Nihonga paintings do not need to be put under glass. They are archival for thousands of years. In monochrome Nihonga ,
546-481: The Nihonga movement by Okakura Kakuzō and other painters. The influence of Rinpa was strong throughout the early modern period, and even today Rinpa -style designs are popular. One later artist of note is Kamisaka Sekka . Rinpa artists worked in various formats, notably screens, fans and hanging scrolls, woodblock printed books, lacquerware, ceramics, and kimono textiles. Many Rinpa paintings were used on
585-762: The Kano School , was the founder of the practical side of this revival movement. He did not simply paint Japanese-style paintings using traditional techniques, but revolutionized traditional Japanese painting by incorporating the perspective of Yōga and set the direction for the later Nihonga movement. As the first professor at the Tokyo Fine Arts School (now Tokyo University of the Arts ), he trained many painters who would later be considered Nihonga masters, including Yokoyama Taikan , Shimomura Kanzan , Hishida Shunsō , and Kawai Gyokudō . The term
624-728: 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 Kōetsu obliged by producing numerous works of ceramics , calligraphy and lacquerware . His collaborator, Tawaraya Sōtatsu, maintained an atelier in Kyoto and produced commercial paintings such as decorative fans and folding screens . Sōtatsu also specialized in making decorated paper with gold or silver backgrounds, to which Kōetsu assisted by adding calligraphy. Both artists came from families of cultural significance; Kōetsu came from
663-599: The semantic value of "X and Y" (so-called dvandva or copulative compounds): Compare this to yama + kawa > yamagawa "mountain river". Rendaku is also blocked by what is called a "branching constraint". In a right-branching compound, the process is blocked in the left-branching elements: but The branching constraint analysis could be considered a violation of the Atom Condition, which states that "in lexical derivations from X, only features realized on X are accessible." An alternative view proposes that
702-627: The background filled in with gold leaf . This technique is known as gold ground . Emphasis on refined design and technique became more pronounced as the Rinpa style developed. The Rinpa style flourished in Kyōto, Nara, and Ōsaka, i.e., the political and cultural triangle of ancient Japan. Kyōto and Ōsaka were also two of the most important cities of the Nanga (南画 "Southern painting"), also known as Bunjinga (文人画 "literati painting") school's style; Nanga painting
741-646: The distinguished Doctorate level curriculum at Tokyo University of the Arts. Most recently Pola Museum did a seminal survey in an exhibit which included Makoto Fujimura , Lee Ufan , Matazo Kayama , as well as Natsunosuke Mise, called "Shin Japanese Painting: Revolutionary Nihonga", curated by Hiroyuki Uchiro. Nihonga are typically executed on washi (Japanese paper) or eginu ( silk ), using brushes. The paintings can be either monochrome or polychrome. If monochrome, typically sumi (Chinese ink) made from soot mixed with
780-588: The early Rinpa artists were anthologized in small paperback booklets such as the Korin Gafu (The Korin Picture Album) by Nakamura Hochu [ ja ] , first published in 1806. This was followed by an original work by Sakai Hoitsu called the Oson Gafu , published in 1817. Sakai had numerous students who carried the movement forward into the late 19th century, when it was incorporated into
819-460: The first category of compounds, but not in the second. (Whatever its origin, by the Old Japanese period rendaku had already become a grammatical process distinct from constructions with no or ni , as shown by the occurrence of forms such as nadori "your bird", where a phrase with no would be ungrammatical, since the genitive of the pronoun na "you" was always formed with
SECTION 20
#1732786874272858-872: The following words: In some cases, rendaku varies depending on syntax. For instance, the suffix tōri ( 〜通り , "road, following") , from tōru ( 通る , "to go, to follow") , is pronounced as -tōri ( 〜とおり ) following the perfective verb , as in omotta-tōri ( 思った通り , "as I thought") , but is pronounced as -dōri ( 〜どおり , with rendaku ) when following a noun, as in yotei-dōri ( 予定通り , "as planned, according to schedule") or, semantically differently – more concretely – Muromachi-dōri ( 室町通 , " Muromachi Street ") . Rendaku occurs not only on single-root elements, but also "multi-root" elements, those that are themselves composed of smaller elements. These morphemes may be of Chinese origin (see kango ) or more recent loanwords (see gairaigo ) rather than strictly native. For certain morphemes that begin with
897-447: The form of prenasalized voicing. This prenasalized sound production was not uniform at all, and depending on the speakers and the words pronounced, significant variations were observed. There was a relationship between the rate of prenasalized voicing and the speakers’ age: older individuals display it at a higher rate than younger individuals. On the other hand, differences in the speakers’ gender and socioeconomic status did not affect
936-585: The morae chi ( ち ) and tsu ( つ ), their rendaku forms begin with the morae ji and zu , spelled in hiragana as ぢ and づ , which explains the use of these kana in contrast to the identically pronounced じ and ず (see yotsugana ). This is not a strict rule, however, and is relaxed in certain older compounds or names, especially those that are not easily recognized as compounds. Rendaku occurs not only in compound nouns, but also in compounds with adjectives, verbs or continuative/nominal forms of verbs. In many Tohoku dialects , rendaku can be expressed in
975-577: The particle ga . ) Native Japanese words do not begin with a voiced obstruent or sibilant (b, d, g, z, etc.). However, after the 4th century, Japan started borrowing words and characters from Chinese. Since many Chinese words begin with voiced consonants, applying rendaku to those words would cause ambiguity (compare 試験 shiken "examination" with 事件 jiken "incident"). Compound words consisting of purely Chinese words tend not to exhibit rendaku, unlike compounds consisting of native Japanese words, but there are many exceptions. Rendaku can be seen in
1014-544: The process applies cyclically. This could be seen as the voicing between hashi and ire staying unrealized but still activating Lyman's Law. Despite a number of rules which have been formulated to help explain the distribution of the effect of rendaku , there still remain many examples of words in which rendaku manifests in ways currently unpredictable. Some instances are linked with a lexical property as noted above but others may obey laws yet to be discovered. Rendaku thus remains partially unpredictable, sometimes presenting
1053-597: The rate of prenasalized voicing. For example, “[kata] ‘shoulder’ and [haka] ‘tomb’ are pronounced [kada] and [haga]” in Tohoku dialect. The extensive examples of allophonic variation in the Tohoku dialect are as follows: Research into defining the range of situations affected by rendaku has largely been limited to finding circumstances (outlined below) which cause the phenomenon not to manifest. Lyman's law states that there can be no more than one voiced obstruent (a consonant sound formed by obstructing airflow) within
1092-430: 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 Kanō school developments. The stereotypical standard painting in the Rinpa style involves simple natural subjects such as birds, plants and flowers, with
1131-571: The technique depends on the modulation of ink tones from darker through lighter to obtain a variety of shadings from near white, through grey tones to black and occasionally into greenish tones to represent trees, water, mountains or foliage. In polychrome Nihonga , great emphasis is placed on the presence or absence of outlines; typically outlines are not used for depictions of birds or plants. Occasionally, washes and layering of pigments are used to provide contrasting effects, and even more occasionally, gold or silver leaf may also be incorporated into
1170-599: The world; notable Nihonga artists who are not based in Japan are Hiroshi Senju , American Makoto Fujimura , and Canadian Miyuki Tanobe . Contemporary Nihonga was the mainstay of New York's Dillon Gallery between 1995 and 2015. The "golden age of post war Nihonga" from 1985 to 1993 produced global artists whose training in Nihonga has served as a foundation. Takashi Murakami , Hiroshi Senju , Norihiko Saito, Chen Wenguang, Keizaburo Okamura and Makoto Fujimura all came out of
1209-685: Was already in use in the 1880s and a discussion of the context at the end of the Edo period is traced in Foxwell's monograph on Making Modern: Japanese-style Painting . Prior to then, from the early modern period on, paintings were classified by school: the Kanō school, the Maruyama-Shijō school, and the Tosa school of the yamato-e genre, for example. At about the time that the Tokyo Fine Arts School
Rinpa school - Misplaced Pages Continue
1248-540: Was called the father of modern Japanese art, championed the preservation of traditional art with innovation and synthesis with Western-style painting. Nihonga was thus not simply a continuation of older painting traditions viewed in this light. Moreover, stylistic and technical elements from several traditional schools, such as the Kanō-ha , Rinpa and Maruyama Ōkyo were blended together. Some Western painting techniques were adopted, such as perspective and shading, in
1287-402: Was coined during the Meiji period (1868–1912) to differentiate it from its counterpart, known as Yōga (洋画) or Western-style painting. The term literally translates to "pictures of Japan." Nihonga began when Okakura Tenshin and Ernest Fenollosa sought to revive traditional Japanese painting in response to the rise of a new Western painting style, Yōga . Hashimoto Gahō , a painter of
1326-598: Was flamboyant, recalling the aristocratic style of the Heian period . Sōtatsu also pursued the classical Yamato-e genre as Kōetsu, but pioneered a new technique with bold outlines and striking color schemes. One of his most famous works are the folding screens Wind and Thunder Gods ( 風神雷神図 , Fūjin Raijin-zu ) at Kennin-ji temple in Kyoto and "Matsushima" ( 松島 ) at the Freer Gallery . The Rinpa school
1365-427: Was formerly sasa-nami. This is rare and irregular, however. Native speakers usually (1.3% compared to 10% of all Sino-Japanese words) do not apply rendaku to compounds with clusters of voiced nasals and unvoiced obstruents. Nihonga Nihonga ( Japanese : 日本画 ) is a Japanese style of painting that uses mineral pigments, and occasionally ink, together with other organic pigments on silk or paper. The term
1404-456: Was founded, in 1887, art organizations began to form and to hold exhibitions. Through them, artists influenced each other, and the earlier schools merged and blended. With the additional influence of Western painting, today's nihonga emerged and developed. Nihonga has gone through many phases of development since the Meiji period. The impetus for reinvigorating traditional painting by developing
1443-481: Was revived in 19th century Edo by Sakai Hōitsu (1761–1828), a Kanō school artist whose family had been one of Ogata Kōrin’s sponsors. Sakai published a series of 100 woodcut prints based on paintings by Kōrin, and his painting Summer and Autumn Grasses ( 夏秋草図 , Natsu akikusa-zu ) painted on the back of Kōrin’s "Wind and Thunder Gods screen" is now at the Tokyo National Museum . Paintings of
1482-519: Was revived in the Genroku era (1688–1704) by Ogata Kōrin and his younger brother Ogata Kenzan, sons of a prosperous Kyoto textile merchant. Kōrin'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 Blossoms ( 紅白梅図 , Kōhakubai-zu ) c. 1714–15,
1521-418: Was therefore exposed to the influence of Rinpa painting and vice versa. Rendaku Rendaku ( 連濁 , Japanese pronunciation: [ɾendakɯᵝ] , lit. ' sequential voicing ' ) is a morphophonological phenomenon in Japanese where the second (or non-initial) portion of a compound or prefixed word starts with a voiced consonant, even though the same morpheme starts with
#271728