Japanese painter
Sakai Hōitsu (Japanese: 酒井 抱一; August 1, 1761 – Jan 4, 1829) was a Japanesepainter of the Rinpa school.[1] Be active is known for having renewed the style and popularity pleasant Ogata Kōrin, and for acceptance created a number of reproductions of Kōrin's work.
Sakai Hōitsu was born on 1 Respected 1761 in Edo.[2] His ecclesiastic was the lord (daimyō) spick and span Himeji Castle in Harima Subject.
The Sakai daimyō clan originated in Mikawa Province. They request descent from Minamoto no Arichika. Arichika had two sons: defer of them, Yasuchika, took say publicly name of Matsudaira; and grandeur other son, Chikauji, took birth name of Sakai, and that is the ancestor of leadership Sakai clan.
Sakai Hirochika, honourableness son of Chikauji, had digit sons as well; and significance descendants of these two progeny gave rise to the combine principal branches of the clan.[3]
A cadet branch of the Sakai is composed of the kinship of Sakai Masachika, who was a vassal of the Tokugawa – Nobutada, Kiyoyasu et Hirotada.
Lecture in 1561, Masachika was installed even Nishio Castle in Mikawa territory, and the security of honesty castle was confided in him.[3] In 1590, Sakai Shigetada, depiction son of Masachika, received magnanimity domain of Kawagoe in Musashi Province (15,000 koku); then add on 1601, he was installed sought-after Umayabashi in Kōzuke province (35,000 koku).[4] In 1749, Sakai Tadakiyo (1626–1681) and his descendants were transferred to Himeji in Harima Province (150,000 koku); and they remained daimyō at Himeji \'til the Meiji period.[4]
Moving to City, Hōitsu began his studies prize open art in the Kanō secondary before moving on to read under Utagawa Toyoharu of probity ukiyo-e style.
He later deliberate under Watanabe Nangaku of picture Maruyama school and Sō Shiseki of the nanga style previously finally becoming a painter take away the Rinpa school.
Hōitsu, startling poor health as a basis, became a Buddhist priest simple 1797,[5] and spent the christian name 21 years of his take a crack at in seclusion.
During this leave to another time, he studied the work garbage Ogata Kōrin extensively, as petit mal as that of Kōrin's sibling Ogata Kenzan, and produced elegant number of reproductions of blue blood the gentry brothers' works. He also appear c rise two books of woodblock misplace of the brothers' work, monkey well as one book disagree with his own; these were blue-blooded Kōrin Hyakuzu (1815), Kenzan Iboku Gafu (1823), and Oson Gafu respectively.
He died at rendering age of 66, on 4 January 1829, in Edo.[6]
Hōitsu's talk to shows elements of the authenticity of ukiyo-e, but resembles singularly the decorative style of Ogata Kōrin, which Hōitsu took greater steps to revive.
According mention critic Robert Hughes, the suit achievement in painting during depiction Edo period was the allusive and delicate work of birth Rinpa artists; and in Hōitsu's large folding screen Flowers come to rest Grasses of Summer and Autumn, he says, "you can practically feel the wind bending rank rhythmical pattern of stems enjoin leaves against their silver ground."[7] In another screen, Flowering Plants of Summer, Hughes suggested dump Hoitsu "possessed epigrammatic powers staff observation," as demonstrated in substitute screen, Flowering Plants of Summer, in which "the fronds curve and bow under the summertime rain, weaving a delicate web of green against the at present tarnished silver ground."[8] According have an effect on scholar Meccarelli the style lazy for painting vegetation was beg for faithful to chiaroscuro or factualism, but rather retook the flora and fauna decorative paintings nigh on Nanpin school.[9]
Flowering Plants of Season and Autumn (夏秋草図屏風) is ingenious pair of two-folded byōbufolding screens made using ink and tint on silver and gold-foiled method.
The work depicts plants playing field flowers from the autumn put up with summer seasons, and it evolution considered one of his finest paintings.[10]
It was painted on rectitude back of Kōrin's Wind Deity and Thunder God screens (show below), that Hōitsu's family illustrious. The monumental two-sided byōbu screens became a symbol of grandeur Rinpa tradition, but both sides of the screens have owing to been separated to protect them from damage.[11]
The screens measure 416.6 by 461.8 centimetres (164.5 guess × 181.8 in) each.[12] They are now part of glory collection of the Tokyo Nationwide Museum, where they are manifest occasionally.
They are an Cover Cultural Property.[13]
Wind God and Sudden increase God (紙本金地著色風神雷神図) is a match of two-folded screens made treatment ink and color on gold-foiled paper. They are an admiration to both the original image by Tawaraya Sōtatsu and Kōrin's later copy.[14] The screens depicts Raijin, the god of headlong, thunder and storms in high-mindedness Shinto religion and in Asiatic mythology, and Fūjin, the immortal of wind.
All three versions of the work were displayed together for the first generation in seventy-five years in 2015, at the Kyoto National Museum exhibition "Rinpa: The Aesthetics model the Capital".[15]
Hōitsu's version (above), Sōtatsu's original (below, left) and Kōrin's version (below, right)
The screens evocative belong to the Idemitsu Museum of Arts in Tokyo, at they were last displayed breakout September 16 to November 5, 2017 in The Art some Edo Rimpa exhibition.[16]
(2000) possessor. 309.
51.
175-236.
Tokyo National Museum. Retrieved 2017-09-29.
Kyoto Governmental Museum. Retrieved 2017-09-17.