Artistic Works of Tawaraya Sotatsu - Research Paper Example

? Introduction The works of various artists across cultures are able to change the way that many approach painting as well as the styles which are popularized during that time. When looking at the works of Tawaraya Sotatsu, it can be seen that the concepts of his painting changed the focus of the art in Japan. The cultural implications, techniques which he was most popular for and the development of educational concepts for the illustrations led him into being one of the most prominent artists of the 17th century. The expressions that resulted from his paintings were some of the most important in creating a different outlook with the artistic works of Japan. Background of Tawaraya Sotatsu Sotatsu was born in the 17th century in Japan. There isn’t a trace of the time frame when he was born or died, who is parents were and what his status was. The only eearly reference is to his name, which stands for ‘shop.’ It was also known that during this time, there were social differences in class and hierarchy, specifically between spiritualists, royalty and those who were designated to work in labor designated areas. Sotatsu belonged to the commoners group, known as a rising merchant. However, he began to notice his talent for the arts and painting earlier, which led him to connect to distinguished individuals that were known as warriors and which could educate Sotatsu on painting and illustrations. This led him to move into the genre of painting while working among more wealthy merchants so he could develop his talents in a different manner. It was from this that Sotatsu began to become a leader that revitalized literary painting for the period, specifically allowing the Edo Period to begin to transform in the types of works that were offered and the approach to art that was considered in high regard during the time1. Techniques of Sotatsu There were several techniques that Sotatsu used to become distinguished within Japan and to push forward the art work that was associated with the time. One common technique was the fan paintings that Sotatsu used to sell among the higher class and merchants. These were illustrated with authentic illustrations that were based around figures and decorative ideologies for the time. Flowers, trees, birds and animals are the most common seen in the fan paintings, as well as the other works of Sotatsu. Narrative scenes were also depicted, specifically with the fan paintings that were available. The main themes which were a part of the fan paintings were the most important, specifically because it was a newer way of approaching the decorative arts2. The fan paintings led into other decorative materials that Sotatsu was known for using with the paintings and drawings. The materials that Sotatsu used led to the change in illustrations to ink painting. Most of the illustrations before this time were done with the drawings and lines that were used with ink. However, Sotatsu began to experiment with the ink and the ways in which it could shape and change the images. The ink became a way of painting because of the shading that he was able to incorporate into the paintings, as well as new textures which were implied through the ink. This began by applying a layer of pigment to the ink on paper or silk for the drawing. This was followed by a second layer of ink or colorant, usually which was applied before the ink was dry. The new pigment would then bleed outward to form a larger mark on the original material. This is combined with what is referred to as the tarakashomi method. This was popular during this time frame but was no longer used among artists. Sotatsu began to popularize this concept with his works, which was inclusive of dripping or pooling. The ink would drip into the layers of pigments for visual effects. The fluidity of this particular ink would also allow for the painting to be applied to the work that was being illustrated, creating a thicker texture to the lines that were a part of the illustration3. The approaches which were taken for the layered pigments, ink drawings and the overall ink paintings then led into several techniques used with other styles that were a part of Sotatsu’s influence. This included calligraphy, basic illustrations and panels that were painted using the illustrations from the ink. There were also techniques such as poetry scrolls which were employed. Sotatsu was known for combining the main poetry with the illustrations through the scrolls, then creating overall designs and shapes. Poetry blocks, for instance, were one of the techniques that Sotatsu used, where each poem was contained in a block with an illustration. The combination of calligraphy with the ink dripping that Sotatsu used was able to create a different effect with this artistic work while allowing for experimentation when combining the different ink forms in one block for both writing and illustration4. The different techniques that were known were also combined with collaborations that Sowatsu did, specifically which combined techniques, materials and artistic relevance to the works that he was interested in. The concept of group arts was popular in Japan during this time, specifically because it allowed artists to combine the different techniques and work together with a variety of concepts. Most times, Sotatsu was known for making the paintings, specifically through the use of the ink painting which he was most well – known for. This would follow with calligraphy script or additional painting that would be layered over or under the work to compliment the main attributes. This was done by first following a specific theme or idea, then working to portray this through the observations and perspectives of both artists, specifically because it led to a different significance and representation of the art and culture that was beginning to flourish in Japan during this time frame5. Importance of his Art in Rimpa School One of the areas which Sotatsu was known to be influenced by the most was the Rimpa School. This was the group of Japanese artists that were interested in the revitalization of art during the time frame and which were growing into new techniques which could create a deeper understanding of Japan as a culture and the artistic works which could express the beauty and aesthetics of the time frame. The school was often referred to as the decorative school, specifically because most of the arts were based on finding ways to decorate materials that were used, either for practical purposes or for aesthetics. The Rimpa School that grew during this time was known to consist of mostly artists that were in the city and which collaborated to find the different pieces of aesthetic beauty in the environment and to create a different expression with the techniques for the changes which were a part of the Edo Period and Japanese Society. It was known that this school caused a flourishing of the arts to take place through the 1600s and 1700s6. The Rimpa School, founded by Ogata Korin, was focused on two aspects of technique in the Japanese art. The first was based on the materials which could be used and how the techniques from the materials changed the texture, layering and overall results that were a part of the decorative art. Since the artwork was used for anything from fans to furniture, as well as basic paintings, there was an interest in the main aspects that were associated with the school. This was combined with the techniques of the materials which were a part of the lines and illustrations drawing. Interchanging poetry and other forms of art with the materials was one of the aspects taken. The use of finding different presentations of the painting and the illustrations was another. Sotatsu’s use of the ink drawing was able to provide a different outlook to the work while showing techniques and textures that were not used by most of the artists during this time7. The other aspect which was added into the Rimpa School by Sotatsu was the development of literary painting. This was used with the combined efforts of literary artists, such as poets and those who were able to interchange the calligraphy with the painting. This was combined with the efforts established with the story lines and narratives which were often told through those who were painting the different images. The narratives were incorporated into the natural elements as well as the features of the screens. Typically, the different screens were able to tell a part of the story while providing a different outlook to the paintings. The techniques of the ink that were added into this were able to help with the story, specifically by combining the density of the ink with the figures and images to add into the overall texture that was a part of the story8. Most Relevant Art The art works of Sotatsu include several illustrations which significantly altered the outlook of how techniques were used in the time frame. One of the images that were well known through this time frame was Lotus Sutra as seen in image 19. Image 1: Lotus Sutra As can be seen in this painting, the use of lines and ink is the most important component. There are shades of the pigment that are used as a part of the drawing and which draw the attention to the main figures that are in the work. The lines of the surrounding area help to define this further, specifically by creating a defined contrast between the colors and the lines that are in the painting. By incorporating both of these, there is the ability to develop a refined style and to show how both of the techniques can work together for the development of an image which is more realistic in nature. Another well known image is Fujin and Raijin, which depicts the story and mythology of Japan from ancient times. This depicts two characters that were known to go into battle and which changed the out course of Japan through their interactions with each other10, as seen in image 2. Image 2: Fujin and Raijin This particular work employs the use of the ink painting, as seen from the outlines that are associated with the piece. The black lines are the ink painting that is used, and create the contrast through the ribbons both have, which is the unifying factor that is associated with the piece. This is followed by the painting that is used and which creates the main contrast because of the colors chosen. This influence was one which was popular in Japan during the time frame and created a different outlook to the work because of the deeper and layered textures that were used for the creation of this piece. The two screens and the use of storytelling and narrative as a part of Sotatsu’s work was another element, which he was famous for bringing back into Japan during this time. This particular work is an understanding of the older techniques and traditions of painting that were kept throughout Japan while showing the initiatives to moving into a new way of painting that was becoming popular in Japan during the Edo Period. Another image which Sotatsu developed was the Waka Poem Scroll, collaboration between his work and the works of Koetsu, as seen in image 3. Image 3: Waka Poem Scroll The unique attribute of this particular painting is with the development of the calligraphy and the images working together. The images work as a background to the calligraphy; however, the movement from one side of the frame to the other also allows the imagery to become the main element. This is able to compliment the calligraphy, which has the same movement from one side of the screen to the other. The calligraphy uses the darker forms toward the top of the screen then uses lighter and thinner lines toward the bottom. This is displayed to create a specific technique that allows the reader to move through the poem and the images that are used. Both the image and poetry is then able to balance while showing the use of group art that was common during the time of Sotatsu and which he used often with the school of thought that he belonged to. Conclusion The aspects of artistic works during Japan in the Edo Period were beginning to change with more popularity that was a part of the culture. When looking at the works of Sotatsu, it can be seen that there are specific elements which are added into the overall effects. This is combined with bringing back literary paintings, the ink dripping effects and other common aspects of the painting. Combining this with new innovations and working with the group arts then allowed him to contribute to the overall time frame and the movement of art into a different style. The works of Sotatsu, specifically through his influences of the Rimpa School of thought, were then able to push the art work of Japan forward and create changes in how expressions of art work were used for this time frame. Works Cited Figgess, J. “The Great Japan Exhibition: The Art of the Edo Period 1600-1868.” The Burlington Magazine 15 (2), 1982. Gerhart, Karen. “Art of Edo Japan: The Artist and the City.” Monumenta Nipponica 51 (4), 1996. Gowing, L. A Biographic Dictionary of Artists Oxfordshire: Oxford Limited, 1995 Kanda, Christine. “Rimpa Kaiga Zenshu.” Ars Orientalis 12 (1), 1981. Kita, Sandy. “The Bulls of Chomyoji: A Joint Work by Sotatsu and Mitsuhiro.” Monumenta Nipponica47 (4), 1992 Lippit, Yukio. “Tawaraya Sotasu and the Watery Poetics of Japanese Ink Painting.” Anthropology and Aesthetics (51), 2007 Murase, Miyeko. “Fan Paintings Attributed to Sotatsu: Their Themes and Prototypes” Ars Orientalis. 9, 1973 Stern, Harold. Rimpa, Masterworks of the Japanese Decorative School. Japan Society: New York, 1971, Tanaka, Ichimatsu, Masao Ishizawa. Heritage of Japanese Art. Kodansha America: New York, 1981. Read More