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Feltens, Frank

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Index

Frank Feltens

Ogata Kōrin: Art In Early Modern Japan

Index

Author

Frank Feltens

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-22251

Index

adoption of illegitimate children, 8, 16–17, 179, 198n14, 201n30

Aimi Kōu, 9, 196n64, n198n12, 198n25

Anrakuan Sakuden, portrait of (Shōkadō Shōjō), 36, 37, 41

Arima Jōhaku, 173

Ariwara Narihira (from Tales of Ise), 46, 60, 105, 130, 195n23

art dealers, role of, 32–34, 81, 101, 127, 143, 176, 195n4

Asai Fukyū, 112–13

Chronology of Seals of Painters of This Realm (Honchō gaka inpu), 113

Compendium of Famous Painters of Japan (Fusō meikō gafu), 113

Assortment of Designs for Lacquer (Maki-e tamei warabegusa), 91

astrology and divinations, 72, 101–2, 103

auction sales of Kōrin’s works, 64, 195n32

Aya (mother of Katsunojō), 180, 201n28, 201n36

Azaleas (Kōrin), 128, 129

azurite, 46–47, 55–57, 62, 119, 148, 170, 190, 196n41

Bai Juyi, 61

bamboo, 53, 93, 136–39, 137–39, 148, 150, 154, 157, 200n41

Ban Kōkei: Annals of Early Modern Eccentrics (Kinsei kijin den), 38

Bird Studies (Kōrin), 114, 114–15, 198n32

Book of Deer Designs for Inrō (Inrō shika no hon) (Kōrin), 91–92, 92

Buddhist works, 9, 28, 39, 117

Bunzaburō (Kōrin’s son with Suma), 9, 19–20

calligraphy: of Kenzan, 147, 149–50, 149–50

of Kōetsu, 52–53, 53–54, 74, 74–75, 85, 91, 92, 149, 197n7, 197n29, 197n36

ceramics, 4, 8, 133–59

anonymous secondary painters working with Kenzan, 156

black and white, 139–42, 159, 199n20

Cizhou ware, 150–51

collaboration of Kōrin with Kenzan, 11, 33, 61, 127, 131, 133–39, 143–59, 199n2

cypher on, 154, 200n41

evolution of Kōrin’s technique, 154–55

irises on, 135–36, 136

Karatsu ware, 134, 135, 137

Kenzan ware, 61–62, 62, 133–39, 134, 136, 138, 140, 145–47, 146–47, 150, 150–53, 153, 155, 155–59, 157, 196n50, 199n6, 200n32, 200n41

Kokutani ware, 200n43

Korean influence, 134

model book created by Kōrin for his brother Kenzan, 156–59, 158

Nijō Chōjiyamachi kiln, 143, 156, 200n32

Ninsei ware, 139–40, 199n5, 199n20

Omuro ware, 140–41, 199n8

Oribe ware, 135, 135, 137

outsourcing production of, 199n15

poetry incorporated into, 147, 148–55, 200n34, 200n38

practice of using printed painting manuals for, 156

sales methods for, 34, 143–44, 156, 159

sets establishing associations among dishes, 147–48

Shino ware, 134, 135

signatures on, 156

Tales of Ise and, 61–62, 62

Watanabe Soshin and, 185

white slip for, 142, 199n12. See also Narutaki kiln; rectangular dishes; square dishes; tea bowls

Chinese art and poetry, 38, 117, 122, 137, 150–52, 156, 199n6

chrysanthemums, 6, 22, 93, 97, 109–12, 148, 150

oval fan (Kōrin), 110, 111

screens (Kōrin), 108–9, 109–11, 175, 201n37

square dish (Kōrin and Kenzan), 133, 134

Cintamani Jewel (Kōrin, 1699), 154, 154–55

Cintamani Jewels (Kōrin, 1710), 154, 154–55

Collection of Paintings by the Kōrin School (Kōrin-ha gashū), 172

Collection of Ten Thousand Leaves (Man’yōshū), 195n22

Compendium of Elegant Patterns, New Edition (Shinpan fūryū hinagata taisei), 88

Compendium of New and Ancient Calligraphy and Painting of This Realm (Honchō kokin shoga binran), 112

consumerism and commodification of upscale culture, 31–32, 40, 87–89

Cormorant Fisher (Kōrin), 59, 59

cranes, 53, 53, 160, 166–67, 168–69, 197n36

Cranes (Kōrin), 160, 166–67, 168–69

cross-mediality, 4, 5, 8, 88, 92, 97, 139, 154, 159, 166–67, 186

Daigoji. See Sanbōin

Daily Records of the Nijō Family (Nijō-ke nainai gobansho hinamiki), 10, 24, 63, 194n34

Daily Records of the Sanbōin (Sanbōin hinamiki), 21–22, 194n27

deer designs, 91–92, 91–92

Designs for Tea Bowls (Kōrin), 157–59, 158

Dōsū seal, 102, 113, 115, 119, 129, 130, 195n21

Dream Painting of Mount Fuji (Kōrin), 63, 63–64, 99, 196n56

early modern artistic practice: fusing Edo-based with Kyotobased style, 100, 123, 170–71

irises and, 10, 191

karamonoya (art dealers) and, 32–34, 81, 101, 127, 143, 176, 195n4

Konishi Family Archive revealing, 9

Kōrin’s work as epitome of, 8, 88

labor division and out-sourcing in art production, 10, 32, 69–70, 75–77, 81, 89, 95–97, 177–78, 199n15

older traditions as guidepost in, 4–6, 34–41, 75, 87, 146, 148, 170, 186

originality and, 96

painting performances and, 200n40

Tales of Ise and, 46

taste and refinement in, 5–7

early paintings by Kōrin, 24–25, 31–67

archetype of figure paintings, 35–38

aristocratic culture and, 31

artistic infrastructure and sales methods for, 32–35

ink, use of, 36, 38–40

new style and techniques incorporating older modes, 4–6, 34–35, 37–38, 40–41, 186

readymade goods and diverse marketplace for, 31–32, 40

repeated tropes in, 40–41, 67, 195n36

Sōgi portrait as earliest surviving painting, 25, 26, 35, 35–41, 67

style template and influences in, 39–45. See also specific paintings by title

Edo, Kōrin in, 11, 99–131

adapting to Edo cultural preferences, 11, 41, 100, 111–12, 115–16

attempting to introduce Kyoto-based style to Edo, 11, 99, 111

clientele for his art in, 124–25, 130–31

commuting between Kyoto and Edo (1704–09), 99, 100, 129

financial benefit of, 130

fusing Tawaraya and Kano modes into a personal style, 122–23, 131, 170–71

infrastructure of Edo, 103–12

physically overwhelmed by his work in, 123–25, 131, 174

preparation for, 101–2, 197n3, 197n5

productivity of, 125

pupils and atelier of, 130, 174, 198n20

sending paintings to Edo, 67, 128, 131, 172

tarashikomi technique and, 11, 119–23, 122, 171–72, 183

Edo period (1615–1868), 2, 7–8

gift culture of, 25

karamonoya (art dealers), 32–34, 81, 101, 127, 143, 176, 195n4

Emperor Horikawa’s One Hundred Poets (Horikawa hyakushu), 195n22

fans, 25, 26, 29, 36, 52, 79–80, 105, 107, 110, 111, 143, 176, 194n36, 194n40

Fenollosa, Ernest, 63, 196n53

figure paintings, 35–38, 39, 105. See also names of figures in portraits

Fluttering of a Snipe’s Wing (Shigi no hanegaki), 152, 152, 200n38

The Four Accomplishments (Kōrin), 115–16, 116

Fujiwara Teika, 152, 152, 200n38

Fujiwara Toshiyuki, 85

Fukae Roshū, 183–85

Wisteria and Other Flowers, 184

Fukae Shōzaemon, 73, 183

Fukui Rikichirō, 9, 196n56, 198n12, 198n15, 198nn25–26, 201n30

Fuyuki family, 64–67, 103, 171, 189, 198n9

Fuyuki Goroemon, 65

Fuyuki Masachika, 65–67, 103, 198n9

Genealogy of Eight Types of Painting (Hasshu gafu), 155, 155–56, 200n43

Genroku era (1688–1704), 66, 103

Gettan Dōchō, records of, 199n14

Gods of Wind and Thunder (Kōrin), 98, 125–27, 126, 178

gofun (shell-white), 56–57, 111, 178, 190, 196n41

gold and gold leaf, 5, 45, 48, 53, 57, 69, 81, 82, 84, 94, 95, 122, 136, 166–68, 178, 186

GoMizuno’o (emperor), 24, 25, 52, 108

GoYōzei (emperor), 194n23, 194n31

Hakurakuten paintings (Kōrin), 59–61, 60, 166

Hasegawa school, 117

Hasegawa Tōhaku: Tōhaku’s Explanation of Painting (Tōhaku gasetsu), 38

hinagata bon (printed fashion catalogues), 88–89, 91, 93

Hitotsubashi Tokugawa, 125, 127–28

Hōei earthquake (1707), 129

Hōei era (1704–11), 103, 200n24

hokkyō title, 28, 28–29, 40, 54–55, 154, 165, 198n15, 199n2

Hon’ami family: Activities of the Hon’ami Clan (Hon’ami gyōjōki), 38, 66

advice sought from, 54, 73

influence on Kōrin, 53, 73. See also Takagamine

Hon’ami Kōetsu, 70–88

calligraphy of, 52–53, 53–54, 74, 74–75, 85, 91, 92, 149, 197n7, 197n29, 197n36

influence of and Kōrin’s bond to, 9, 10, 38, 53–54, 70–75, 82, 93, 97, 102, 200n29

lacquer works of, 73, 75–76

Letter, 74, 74

letter to patron Shinbei, 77–78, 197n14

Maeda clan and, 196n50

Noh libretti design by, 197n36

outsourcing production of lacquer works, 10, 75–77

Poem Scroll with Deer (calligraphy), 91, 92

production pattern and instruction letters to potters for lacquer works, 76, 77–78

signature of, 76, 102

Suzuribako with Design of Pontoon Bridge, 82–85, 83

Tea Bowl named “Minogame,” 76, 76. See also Takagamine

Hon’ami Kōho, 66

Honda Tomimasa, 200n5

Hōrin Jōshō, 141

horinuri (carved lacquer) technique, 172, 173

Hōshō Tomoharu, 110

Hosoi Tsune (mother of Motonosuke), 17–19, 193n13 (Ch. 1)

Hotei images, 36, 39, 39–40, 74, 145–46, 148, 157

Hotei Playing Kemari (Kōrin), 39, 39, 74, 145–46

Huang Tingjian (Kōrin), 41–43, 42, 150, 150

Ichijō Kanetō, 195n35

Igarashi family, 78

Ihachi (adopted son of Kenzan), 142, 199n17

Ikeda Denshichi, 197n21

Ikeda family, 196n63

Illustrated Life of Saigyō (Kōrin), 165, 167. See also Saigyō

Illustrated Miracles of Vajrapani (Shukongōjin engi), 166

Inaba Tsūryū: Praiseworthy Sword Décor (Sōken kishō), 82, 84

Ink Landscape (Kōrin), 119, 121, 122

ink paintings, 36, 38–41, 48, 117–23, 131, 133, 137, 140, 142, 144, 148, 150, 154

cursive mode (sōtai), 118

cypher in, 154

splashed ink style (haboku), 118, 119. See also tarashikomi technique

inrō (small decorative containers worn at sash), 52, 79–80, 82, 97, 175

butterfly design, 79

chrysanthemum design, 93

deer design, 91–92, 91–92

hollyhocks design, 79

Irises (Kōrin), 2, 10, 30, 44–45, 45–67, 166, 186–87, 191–92

as anomaly in Kōrin’s work, 57

associated with Tales of Ise and Noh theater, 10, 46–48, 55, 60, 64

compared to later Irises at Yatsuhashi, 56–58, 64

Eight-Plank Bridge suzuribako and, 94–95

hanging scroll (early 18th century), 58

modularity of design, 49–54, 190

provenance of, 25, 63–64, 191, 196n52

repetition in, 15, 49–50, 53, 54, 166, 190, 193n4 (Ch. 1), 195n36

stencils, possible use of, 50, 195n30

textile design techniques and, 15, 49–50, 50, 193n4 (Ch. 1)

Irises at Yatsuhashi (Kōrin), 2, 54–55, 55–67, 176–78, 177, 186

associated with Tales of Ise and Noh theater, 55, 60

on ceramics, 135–36, 136

compared to earlier Irises, 56–58, 64

compared to Hōitsu’s homage, 188–89, 189–91

compared to Red and White Plum Blossoms, 178

dominant theme in Kōrin’s work, 55, 58, 67, 183, 186–87

in early modern tradition, 10, 191

Eight-Plank Bridge suzuribako and, 94–95

evolution from earlier Irises, 56–58, 64

Fans with Designs of Irises at Yatsuhashi and Reeds in Winter, 58

influence of, 2, 65

provenance of, 63–65, 67, 103, 171, 189, 196n63

signature in, 196n62

sketches (Kōrin), 56, 57

symbolism of, 46, 195n22

tarashikomi technique of, 177–78

Iryō seal, 55, 111

Jakunyo (Nishi Honganji abbot), 25, 63–64, 99, 194n38

Jirōsaburō (Kōrin’s son), 16–17

Jūichiya Tokuemon, 197n18

Jūnyo (Nishi Honganji abbot after Jakunyo), 25, 63–64

Jurōjin: fan (Kōrin), 103

painting (Kōrin), 64, 154

paintings (Shikō and Hōitsu), 41–45, 43

sabi-e dishes (Kōrin and Kenzan), 141, 146, 146, 148, 152–53, 153, 200n41

Sesson’s hanging scroll as influence on Kōrin, 144–45, 146

Kaihō school, 34, 117

Kajibashi Kano, 198n31

Kakinomoto Hitomaro, Kōrin’s portrait of, 36, 37

Kakitsubata (Kenzan’s dish), 61–62, 62, 196n50

Kakitsubata (Noh play), 60–62

Kameda Bōsai, 188, 190, 201n9

Kamenokōya Kishichi, 50–51

Kamisaka Sekka: Irises, 190–91, 191, 201n9

Kanamori Sōwa, 139–41, 199nn7–8

Kano Eikei, 194n36

Kano Einō: History of Painting of the Realm (Honchō gashi), 5, 117

Kano Hiroyuki, 9

Kano Motonobu, 39

Kano school/style, 3, 7, 9, 13, 24, 34, 39, 48, 72, 197n2

influence on Kōrin, 3, 41, 100, 112–16, 134, 144, 170

Kōrin fusing Tawaraya and Kano modes into a personal style, 122–23, 131, 170–71

Sesshū Tōyō and, 117–19

soft palette of ink used in, 113

Kano Tan’yū, 37, 112–15, 122, 197n2, 198n31, 198n33

names of painters in his lineage, 72

Sesshū’s influence on, 118–19

Sketch of a Painting by Sesshū, 118, 119

Spring Landscape, 41, 42

True Record of the Way of Painting (Gadō jitsuroku), 7

Kano Tsunenobu, 112

Kano Yasunobu, 112

Cornerstones of the Way of Painting (Gadō yōketsu), 34

Kansei seal, 40, 102, 103, 105, 111, 170, 195nn20–21

karamonoya (art dealers), 32–34, 81, 101, 127, 143, 176, 195n4

Karasumaru Mitsuhiro, 175, 195n35, 200n5

Kariganeya (Ogata family business), 2, 15, 20, 23, 27, 49–50, 50, 88, 194n35

Katsu (daughter of Nakamura Kuranosuke), 104, 129, 179, 198n12, 201n26

Kawai Heiemon, 102, 198n7, 199n57

Kenzan ware. See Ogata Kenzan

Kikuoka Tenryō: Stories of This World’s Affairs (Honchō seiji danki), 93

kimono patterns and pattern books, 10, 88–89, 186. See also hinagata bon; textiles

Kita Busei, 64–65

Sketch of a Version of Irises at Yatsuhashi, 64, 196n61

Kitamura Nobuyo: Record of Glancing at the Past (Kaganroku), 65, 66, 196n62

Kobatake Ryōtatsu, 23

Kobori Enshū, 38

Kohitsu Ryōetsu, 35

Kōken (abbot of temple Sanbōin, Kyoto), 21–23, 48, 194n23

Konishi Family Archive (Konishi-ke monjo), 8–9, 20, 91, 181, 193n12 (Introduction), 193n16 (Introduction), 197n36, 200n38, 201n38

Konishi Hikoemon, 8–9

Konishi Hikokurō, 104, 179, 201n30

Konishi Juichirō (Kōrin’s son with San), 8, 91, 104, 175–76, 179–81, 193n11 (Introduction), 198n14, 201n21, 201nn29–30, 201n37

Konoe Iehiro, 187

Konparu Zenchiku, 60

Kōshin Sōsa, 66

Kōzen’in (manager of Sōken’s estate), 14, 14, 21

Kujō Kaneharu, 194n38

Kuroda family, 129

Kusumi Morikage, 72

Kuwayama Gyokushū, 5, 43

Rustic Words on Painting Matters (Kaiji higen), 5

Kuwayama Sōsen, 36

Kyoto, Kōrin’s final return to (1709), 11, 119, 125, 127

art sales to Edo patrons after, 67, 128, 131, 172

ceramics collaboration with Kenzan following. See ceramics

Kyoto aristocratic culture, 4–5, 7–8, 23, 24, 29, 31–32, 36, 38, 64, 74, 88

lacquer works, 4, 8, 10, 69–97, 196n2

artistic correspondence between Kōetsu and Kōrin’s works, 82–87, 93, 97

circular sketches for, 87, 87–90

copies of Kōrin’s works, 81–82, 93

curved lids, 82

designs in Konishi Family Archive, 9

as expensive collectible items, 73, 81–82, 85, 197n6

influence of, 166

of Kōetsu, 73, 75–78, 197n6

of Kōrin, 78–82, 87–97

maki-e technique, 95

materials used in, 82, 93, 94

modes of making, 87–93

of Ogawa Haritsu, 86–87

outsourcing of production of, 10, 32, 69–70, 75–77, 81, 89, 95–96, 178

personalization of Kōrin’s creation of, 93–97

public demand for, 85, 91, 97, 143

sales catalogues and sales methods of, 10, 34, 81, 87–89, 93, 101

sketches (Kōrin), 87, 88–91, 90–91, 93–95, 95. See also inrō; suzuribako

landscape painting, 5, 118–22, 139, 140, 142

Landscape Sketch after Sesshū (Kōrin), 119, 120

late paintings by Kōrin, 11, 161–81

frames, outsourcing construction of, 178

high productivity of final years, 174, 176

lacquer ware’s influence on, 166

Masatoki pseudonym and, 165, 177

representational veracity of, 114–15

studio production in Kyoto and, 11, 174–79, 175

tarashikomi technique of, 169. See also specific paintings by title

lead, 69, 82, 84, 93–95, 166

letters. See name of letter writer or recipient

Li Bai (Kōrin), 113, 114

Liang Kai, 38

Ma Yuan: Scholar Viewing a Waterfall, 137, 139

Maeda family, 78, 111, 122, 196n50, 198n24

malachite, 46–47, 55–57, 95, 111, 119, 148, 168–70, 177, 190, 196n41

Masatoki seal, 127, 136–37, 165, 176, 200n24

Matsudaira Narimitsu, 196n63

Matsudaira Naritami, 65

Matsuo Bashō, 99, 197n1

Matsushita Kōjo, 130

Matsuya Kanzaemon (adopted father of Jirōsaburō), 16–17

Matsuya Tea Records (Matsuya kaiki), 37

medieval artists and paintings, 5, 9, 36, 38, 41, 52, 117, 129, 137, 146, 148

Ming dynasty, 151, 199n6

Misogi (Kōrin), 113, 114

Mokuan, 38

Mōri family, 194n44, 200n5

Mōri Tsunamoto, 194n44

mother-of-pearl, 82, 93, 94, 166

Motonosuke (Kōrin’s son with Hosoi Tsune), 18

Mount Fuji, 63, 63–65, 99, 140, 140

Mt. Utsu, from the Tales of Ise (Kōrin), 105, 107

Muromachi period (1336–1568), 24, 100, 194n31

Myōkōji, 125, 127

Nagasaki, 33, 79, 134

Nagasakichō, 33

Nagata Yūji: Portable Set of Drawers with Design of Plovers and Waves, 86, 87

Nakamura Hōchū: Genealogy of Kōrin’s Paintings (Kōrin gafu), 3, 182, 185, 185–86

tarashikomi technique and, 185–86

Nakamura Kuranosuke, 73, 103–10, 197n21

agreement with Kōrin for foster care for infant daughter of, 104, 129, 198n12

arranging for Konishi family to adopt Juichirō, 179, 198n14, 201n30

gift from Kōrin of decorated poem leaves, 104

as patron of Kōrin after 1704, 108, 128, 133, 179, 183, 198nn11–12

portrait by Kōrin, 104–8, 106–7, 195n21

posthumous name choice of, 105, 128

Nakane Genkei, 72, 101–2, 105

Nakanoin Michikatsu, 75, 195n23, 197n9

Nara Koshirō, 17

Narutaki kiln, 33, 127, 139, 141, 143, 149, 199n15, 199n22

New Selection of Japanese and Chinese-Style Painting and Calligraphy (Shinsen wakan shoga ichiran), 97

New Year’s paintings (Kōrin), 154, 154, 200n40

Nezu Kaichirō, 196n52

Nichi’i (abbot of Kōzen’in and manager of Sōken’s estate), 14, 14, 21

Nijō Tsunahira, 133

appointment as minister of the center, 103

first painting commission from, 26

gifts from Kōrin to, 25

Jakunyo and, 194n38

Kenzan and, 143

as Kōrin’s benefactor, 21, 24–26, 36, 48, 63–64, 100, 102–4, 143, 198n15

Kōrin’s visits to, 179–80

Kuranosuke’s audience with, 104

Washino’o Takanaga and, 28–29

Yamamoto Soken and, 194n34

Ninnaji, 127, 141, 148

Nishi Honganji, 25, 63–64, 187, 191, 194n38, 196nn52–53

Nishimura Seiiku, letters to, 32–33, 33, 81, 143, 197n18, 197n23

Noh theater, 59–63, 193n3 (Introduction); in Edo, 110

as entry to gain patrons, 10

Kōrin performing in, 10, 21–25, 28, 52, 59

Kōrin’s brothers and, 21–22, 48, 143, 194n25

Maeda family and, 196n50

Tales of Ise and, 46, 60–62

Nonomura Chūbei: Illustrated Guide to Kōrin (Kōrin ehon michi shirube), 34

Nonomura Ninsei, 130, 139–42, 199n5, 199n7, 199n17, 199n20

Ceramic Box in Shape of Bamboo Flute, 139, 139

Tea Bowl with Design of Mt. Fuji, 140, 140

Ogata family: Takagamine house owned by, 66, 73. See also Konishi Family Archive

Ogata Katsunojō (Kōrin’s son), 179–81, 201nn28–29, 201n37

Ogata Kenzan (brother, also called Gonpei): advice from Hon’ami family, 54, 73

authenticating Kōrin’s lacquer works, 81–82

calligraphy of, 147, 149–50, 149–50

ceramics collaboration with Kōrin, 11, 33, 61, 127, 133–39, 143–59

Ceramic Techniques (Tōji seihō), 156

Essentials of the Potter (Tōkō hitsuyō), 142

financial advice and assistance from, 26–27, 143, 159

Hall of Mastering Tranquility (Shūseidō) established by, 141, 143, 148–49, 199n14

his father’s will, 13–16, 73, 130–31, 149, 149, 180, 194n47

Kenzan ware, 61–62, 62, 133–39, 134, 136, 138, 140, 145–47, 146–47, 150, 150–53, 153, 155, 155–59, 157, 196n50, 199n6, 200n32, 200n41

letter to Nishimura Seiiku about ceramics of, 32–33, 33

Nijō Chōjiyamachi kiln period, 143, 156, 200n32

Noh performances and, 22, 48, 194n25

pseudonyms suggested to Kōrin by, 144, 159, 165

recluse persona of, 148–50

signature of, 135, 156

Tales of Ise symbolism in work of, 61–62, 62

Tatebayashi Kagei as apprentice to, 183

Tsunahira and, 24

Watanabe Soshin and, 185

white slip used by, 142. See also ceramics; Narutaki kiln

Ogata Kōrin (also called Ichinojō): amorous liaisons of, 9, 10, 16, 17–20

becoming a painter, 10, 24–29

belief in celestial will and divinations, 72, 101–2, 103

birth of, 2

continuing artistic lineage of Hon’ami Kōetsu, 38, 70–75, 82–87, 97

death of, 129, 179–80

early years and education of, 2–3, 4–5, 10

financial problems of, 13–16, 18, 21, 26–28, 50–52, 54, 71, 73, 102, 124, 130, 143, 159, 194n46, 198n7

grave of, 9

health problems of, 9, 11, 19, 131, 164, 172–74, 180, 201n22

his father’s will, 13–16, 14, 102, 130, 181, 201n35

illegitimate children of, 8, 9, 16, 17–20, 91, 104, 175–76, 179–81, 193n11 (Introduction), 198n14

influence and legacy of, 2, 7, 11, 41–45, 67, 69, 164, 181, 183, 185–92

name change from Ichinojō to Kōrin, 71–73, 102, 193n16 (Ch. 1), 196n3

Noh performances and, 21–25, 28, 59, 143

patronage of, 21, 24–29, 36, 48, 63–64, 100, 102–4, 108, 127, 128, 133, 143, 179, 183, 198nn11–12, 198n15

prestige and fortune of family of, 2–3

pseudonyms Jakumei Kōrin and Seisei Kōrin used by, 144, 146, 165, 176, 183, 200n41

recognition of, 4, 6–7, 64, 67, 88, 91–92, 112, 156, 159, 161, 192

reference work created by, 10, 157, 175–76

residences in Kyoto, 14–15, 21, 102, 130–31, 143, 174–75, 175, 180–81, 201n27

self-image of, 39, 71, 72

signature of, 74, 74, 102, 103, 146, 156, 165, 166, 198n34, 199n2, 200n7

trademark style, development of, 10, 177–78, 186

travel to Osaka, 80

wills of, 16, 161, 179–81, 201n28, 201nn35–38. See also ceramics; early paintings by Kōrin; Edo, Kōrin in; lacquer works; late paintings by Kōrin; textiles; specific names of letter writers and recipients; specific works by title or type

Ogata Sōken (father): affluence and social status of, 2–3, 21, 32

debts from daimyo owed to, 15, 16, 27, 180, 201n35

Kano style and, 112

as painter, 23

pseudonym Kōsai used by, 71

Sōtatsu’s influence on, 108

will of, 9, 14–16, 23, 73, 130. See also Kariganeya (Ogata family business)

Ogata Tōzaburō (brother, also called Fujisaburō): financial advice from, 27

inheritance from father’s will, 13–16

in Noh performance, 21–22, 194n25

Ogawa Haritsu, 85–87, 86

Ogiwara Shigehide, 109, 128, 198n12

Ogyū Sorai, 105, 128

Okamoto Tarō, 31

Oken (possible guardian of Suma), 19

One Hundred Poets, One Poem Each (Hyakunin isshu), 74, 74

Ōoka Shunboku, 7, 69

Encyclopedia of Lacquer Designs (Maki-e taizen), 93

Picture Book Mirror (Ehon tekagami), 7

Osaka copper mint, 80, 104, 197n21

otogi (performative storytelling), 10, 24–26, 28–29, 180, 194n31, 194n34

Ōuchi family, 117

outsourcing in art production, 10, 32, 69–70, 75–77, 81, 89, 95–97, 177–78, 199n15

Overview of Paintings in Japanese and Chinese Styles (Wakan shoga ichiran), 112

Patterns for Contemporary Beauties (Tōfū bijo hinakata), 88, 89

peonies, 172

performance. See Noh theater; otogi

Perzynski, Friedrich, 13

Plants of Autumn (Kōrin), 170, 170

Plants of the Four Seasons (Kōrin), 122, 122, 172, 173

Plum and Bamboo (Kōrin), 136–37, 137

plum blossoms, 11, 58, 88–90, 89–90, 137, 138, 140, 150–52, 154, 157, 157, 161–72, 162–63, 171, 176–78, 177, 196n44, 199n3, 200n41

Poetic Meanings of the Twelve Months (Kōrin), 48, 48–49, 58

poetry incorporated into ceramics, 147, 148–55, 200n34, 200n38

pottery. See ceramics

Qin Gao Riding a Carp (Kōrin), 144, 145

Raku Kichizaemon, 77

rectangular dishes: Design of the Noh Play “Kakitsubata” (Kenzan), 61–62, 62, 196n50

Designs of Plum Blossoms and Bamboo (Kenzan), 156, 157

Red and White Plum Blossoms (Kōrin), 11, 58, 161–72, 162–63, 171, 176–78, 177, 196n44

compared to Irises at Yatsuhashi, 178

fusing Tawaraya and Kano modes into a personal style, 170–71

provenance of, 171–72

signature on, 165

tarashikomi technique of, 169, 172, 177–78

unusual and indefinite pigments used in, 167–68

sabi-e ware. See ceramic works

Saga-bon (printed editions of courtly classics), 75

Said, Edward, 161

Saigyō, 164–65, 165–66, 167, 170

Sakai family, 128–30, 144, 193n9 (Ch. 1), 198n12, 200n26

Gathering of Old Events (Tekiko saiyō), 128–30

Sakai Hōitsu, 196n59

Concise Chronology of Seals of the Ogata School (Ogata-ryū ryaku inpu), 112, 183–85

Irises at Yatsuhashi, from the Tales of Ise, 188–89, 189–91

Jurōjin, 41–45, 43

Kōrin’s influence on, 7, 11, 41–45, 65, 125, 129–30, 187–91

mistaking Roshū’s paintings for Kōrin’s, 185

One Hundred Pictures by Kōrin (Kōrin hyakuzu) (1st ed. 1815 & 2nd ed. 1826), 65, 65, 119, 120, 188–89, 191

Plants of Spring and Autumn, 125–27, 127

seeking information on Kōrin’s family lineage, 8

Traces of Kenzan’s Brush (Kenzan iboku), 141, 141

trusting scholarship of Fukyū, 113

Sakai Tadataka, 128–30

Sakai Tadazane: Diary of the Black Tortoise (Genbu nikki), 130

Diary of Transcendent Taste (Yukō nikki), 130

Sakakibara Toranosuke, 17, 193nn9–10 (Ch. 1)

sales methods: auctions, 63, 64, 154, 196n52, 196n63, 200n42

for ceramics, 34, 143–44, 156, 159

for early paintings by Kōrin, 32–35

hinagata bon (printed fashion catalogues), 88–89, 91, 93

for lacquer works, 10, 34, 81, 87–89, 93, 101

readymade goods and diverse marketplace, 31–32, 40

sales shop approach, 50, 195n32

textile business as influence on, 10, 88–89

Sanbōin (Daigoji sub-temple, Kyoto), 21–24, 28, 52, 108

Sarashina (early eleventh-century court lady), 59–60

Seiōbō (Queen Mother of the West) (Kōrin), 115–16, 116

sekiga (paintings on the spot), 200n40

Seki Naotsuna, 26

sencha bowls. See tea bowls

Sesshū Tōyō, 37

influence on Kōrin, 11, 100, 112, 117–23, 120–21, 129, 134

influence on Tan’yū and Kano school, 113, 117–19, 119

Splashed Ink Landscape, 118

Sesson Shūkei, 5, 200n25

Image of Jurōjin, 144–45, 146

influence on Kōrin, 11, 144–46

Qin Gao Riding a Carp, 144, 145

“Sesson” seal owned by Kōrin, 144, 145

Shibuya Shichizaemon, 21–23

shikishi (small-format paintings), 25, 26, 29, 36, 52, 78, 80, 146–48, 194n40, 198n18, 200n29

shimai (short dances), 22, 194n27

Shinbei (Kōetsu’s patron), 77–78

Shinjōsaimon’in (retired empress), 25, 26, 194n35

Shōkadō Shōjō: influence on Kōrin, 36–38, 40–45, 52, 133, 145–46

Kōrin replacing as influence of later painters, 45

medieval influence on, 52

Portrait of Anrakuan Sakuden, 36, 37, 41

treatment of subjects of, 195n10

Shōren’innomiya Sonshō, 25, 35

Shōtoku era (1711–16), 200n24

Signature Practice (Kōrin), 74, 74

silver, 82, 85, 122, 125, 167–68, 178

silver mint, 8, 73, 92, 103–5, 108–9, 128, 183, 201n30

sketches (Kōrin), 91, 197n36

Cranes, 53, 53

Illustrated Life of Saigyō, 165, 165–66

Irises, 56, 57

lacquer designs, 87, 88–91, 90–91, 93–95, 95

Portrait of Kakinomoto Hitomaro, 36, 37

Water Pattern, 166, 167

Sōgi: Commentaries on the Tales of Ise Heard by Shōhaku (Ise monogatari shōmonshō), 75, 195n25, 197n9

Sōgi portrait (Kōrin), 25, 26, 35, 35–41, 67, 74

Song dynasty, 38, 117

square dishes, 146–48

Design of a Landscape with Figures (Kenzan), 155, 155

Design of Bamboo (Kōrin and Kenzan), 136, 138, 200n41

Design of Chrysanthemums (Kōrin and Kenzan), 133, 134

Design of Eight-Plank Bridge, from the Tales of Ise (Kōrin and Kenzan), 135–36, 136

Design of Fukurokuju (Kōrin and Kenzan), 152, 153

Design of Huang Tingjian (Kōrin and Kenzan), 150, 150

Design of Jurōjin (Kōrin and Kenzan), 145–46, 146, 152–53

Design of Plum Blossoms (Kōrin and Kenzan), 136, 138, 151–52, 200n41

Twelve Months After Fujiwara Teika (Twelfth Month) (Kenzan), 147, 147

Story of a Love Letter (Kōshoku fumi denju), 15, 88

Suma (Kōrin’s lover), 19, 193n16 (Ch. 1); letter to Kōrin from, 9, 19–20, 20, 172, 194nn19–20

Sumiyoshi Deity (Sumiyoshi Myōjin), 61

Sumiyoshi school, 34

Suzuki Kiitsu, 65

suzuribako (box to store writing implements), 69, 73, 78–96

Design of Eight-Plank Bridge (Kōrin), 68, 93–96, 94–96

Design of Flowers and Moon (17th century), 82, 83

Design of Hollyhocks (Kōrin) (Hatakeyama Memorial Museum of Fine Art), 80, 80, 93, 197n20

Design of Hollyhocks (Kōrin) (MOA Museum of Art), 69

Design of Hollyhocks (MOA Museum of Art), 70, 80, 93, 166, 197n20, 197n24

Design of Pontoon Bridge (Kōetsu), 82–85, 83

Design of Shells (Ogawa Haritsu), 85–87, 86

Design of the Shore of Suminoe (Kōrin), 84, 84–85, 89–90

sketches for (Kōrin), 90. See also lacquer works

Tachibana Chikage, 3

preface to Nakamura Hōchū, Genealogy of Kōrin’s Paintings (Kōrin gafu), 3

Tachibana Ihei, 176

Taemon (potter), 76–77

Taigong Wang, 115

Takabayashi Tokusai, Kōrin’s letter to, 115

Takagamine, 38, 53–54, 66, 73, 78, 148

Takatsukasa Kanehiro, inscriptions on Kōrin’s Poetic Meanings of the Twelve Months, 48, 48–49

Tale of Genji, 7

Gate House and Channel Buoys (Sōtatsu), 12, 22–23, 23

Tales of Ise, 4, 7, 55, 59–60, 195n23, 195n26

eight-plank bridge in ninth chapter of, 68, 93–96, 94–96, 135, 136

iris works associated with ninth chapter of, 10, 46–48, 55, 60–61, 64, 95, 186

in Kenzan’s ceramics, 61–62, 62

Misogi (Kōrin) depicting religious ceremony in, 113, 114

Mt. Utsu, from the Tales of Ise (Kōrin), 105, 107

Noh theater and, 46, 60–62

Sōtatsu’s artwork based on, 106–7, 147–48, 198n18

woodblock print (1608), 47. See also Ariwara Narihira; Sōgi

The Tales of Ise: Yatsuhashi (Kōrin), 47, 47–48

Tanaka Kisaku, 9

Tango Festival, 195n22

tarashikomi technique, 11, 119–23, 122, 125, 169–72, 177–78, 183, 198n42, 201n10

Tatebayashi Kagei, 183, 185

Flowers and Foliage of Autumn, 184

Tawaraya Sōsetsu, 122

Maeda’s patronage of, 198n24

Mimosa Tree, Poppies, and Other Summer Flowers, 111, 111

Tawaraya Sōtatsu, 7

The Beach at Sumiyoshi, from the Tales of Ise, 105, 106

Bulls, 201n10

Collection of Old and New Poems, 52–53, 53

court ties of, 195n35

Gate House and Channel Buoys (Tale of Genji), 12, 22–23, 23, 194n30

Gods of Wind and Thunder, 125–27, 126, 166

hokkyō title, 28

Illustrated Life of Saigyō, 164, 166, 170

Inen seal, use of, 55, 197n36

influence on Kōrin, 5, 9, 11, 24, 43, 50, 54, 59, 99–100, 105, 108, 113, 125, 127, 131, 165–71, 200n5

Ivy Vines, Bridges and Floating Fans, 105, 107

Kōetsu and, 53

Kōrin fusing Tawaraya and Kano modes into a personal style, 122–23, 131, 170–71

Kōrin’s pawning works by, 28, 50–52, 108, 194n47

Kuranosuke portrait by Kōrin in style of, 105–8, 106–7

Kyoto culture and, 7, 171

medieval influence on, 52

modules, use of, 50–55

Mt. Utsu, from the Tales of Ise, 105, 107, 198n18

Poem Scroll with Deer, 91, 92, 197n36

sales shop to sell art and, 50, 195n35

Sanbōin temple (Daigoji) as home to paintings by, 23–24, 108

shikishi by, 147–48

Sōsetsu as follower of, 111, 122

tarashikomi technique of, 11, 119–22, 122, 125, 169, 171, 183, 198n42, 201n10

Waves at Matsushima, 168, 168–69

Tayo (Kōrin’s wife), 8, 16, 73, 102, 109, 129, 179–81, 198n20

tea bowls, 78, 140, 199n9

Design of Mt. Fuji (Nonomura Ninsei), 140, 140

Designs for Tea Bowls (Kōrin), 157–59, 158

Sencha Tea Bowl with Landscape Design (Kenzan), 139, 140, 199n6

Tea Bowl named “Minogame” (Hon’ami Kōetsu), 76, 76

tea culture, 65, 66, 117, 141, 196n64, 198n9, 199n9

textiles: iris motif and, 49–50, 50, 52

kimono patterns, 6, 6

Kōrin patterns for, 88, 89, 186

Kōrin’s lifetime affinity for, 4, 15, 88

lacquer marketing techniques influenced by textile business, 10, 88–89

patterns in Konishi Family Archive, 9, 193n4 (Ch. 1). See also hinagata bon; Kariganeya (Ogata family business)

Three Brushes of the Kan’ei Era, 38

Tōfukumon’in (retired empress), 2, 193n1 (Introduction)

Tōjūrō (lacquer artisan), 78

Tokugawa Munetada, 127, 199n50

Tokugawa shogunate, 7, 73, 101, 128, 198n31

Hitotsubashi branch, 125, 127–28

Tokugawa Tsunayoshi, 128, 194n35

Tosa Mitsuoki, 166

Great Account of Painting Methods in the Realm (Honchō gahō taiden), 57

Tosa school, 7, 13, 34

treasure ships (takarabune), 154

tropes repeated in Kōrin’s work, 10, 40–41, 49–50, 67, 92, 93, 153, 178, 186, 190–91, 195n36. See also specific designs

Tsuchida Sōtaku, 78

Tsugaru family, 171–72

Uchida Tokugo, 77, 197n20

Ueshima Gennojō, letters to, 101, 109–10, 124–25, 174, 198n23

Unkoku school, 34, 117

Wang Shizhen, 151

Complete Perfect Means for Composing Poetry (Chinese, Yuanji shixue huofa quanshu; Japanese, Enki shigaku kappō zensho), 151–52, 200n37

Washino’o Takanaga, 28–29

Watanabe Shikō, 200n45

Flowers, 184, 185

Irises, 186–87

Jurōjin, 41–45, 43

Kōrin’s influence on, 11, 41–45, 185–87, 190

Watanabe Soshin, 156, 185, 200n45, 201n4

water pattern, 165–68, 167

A Wealth of Occupations in a Nutshell (Bankin sugiwai bukuro), 97

Yamamoto school, 34

Yamamoto Soken, 24, 112–13, 194n34, 198n25, 201n4

Yamane Yūzō, 9, 193n16 (Ch. 1), 195n20, 195n38, 196n3, 196n43, 197n18, 197n23, 199n2, 200n27

yamato-e (Japanese-style painting), 5, 9

Yamauchi Toyomasa, 194n44

Yanagisawa Yoshiyasu, 128

Yoshida Kenkō, 39

Essays in Idleness (Tsurezuregusa), 40

Yoshida Kenkō (Kōrin), 39–41, 40

Yuan dynasty, 117

Yuejiang Shengyin, 150

Zhang Family Workshop: Pillow with Landscape Scenes, 150, 151

Zuiryūsai Sōsa, 66

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