File:Kitagawa Sōsetsu - Flowers of the Four Seasons - 1968.193.2 - Cleveland Museum of Art.tif
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Kitagawa Sōsetsu: Flowers and Grasses | ||||||||||||||||||||||||
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Artist |
Kitagawa Sōsetsu |
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Title |
Flowers of the Four Seasons |
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Part of | Flowers and Grasses | |||||||||||||||||||||||
Object type |
painting object_type QS:P31,Q3305213 |
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Description |
Ascertaining the identity of the painter known as Kitagawa Sōsetsu from the first half of the seventeenth century remains an elusive but fascinating task. Unlike his more versatile predecessor Tawaraya Sōtatsu (died c. 1640), Sōsetsu painted only byōbu and hanging scroll compositions. While he did not collaborate with Kyoto's well-known calligraphers, book designers, or literary or court figures, attractive images such as appear on these byōbu were popular at the time, judging from the number of pieces that survive. In this respect, while his career is shadowy, it is much like those of the many well-regarded salon painters of the seventeenth and eighteenth centuries in Paris whose fame and identity have moved into and out of focus over the centuries. Basically, the historical personage of Sōsetsu can be assessed in two ways. One view, his assumption at Sōsetsu's death to the position of master painter with the honorary Buddhist title Hōkkyō (Bridge of the Law), follows the normal course of events for promotion and the continued well-being of the master's studio. The other approach regards his paintings as aesthetically distinctive in their own right, giving credit to the clients and patrons of the Takagamine artists' colony founded by Sōsetsu and Hon'ami Kōetsu (1558-1637) as insightfully realizing a new generation of creativity and promoting its recognition. Whatever the theory, the most compelling documents for consideration are simply the many delightful paintings of annual flora that have tradition-ally been ascribed to Sōsetsu. Single hanging scroll compositions as well as sets predominate, although they tend to be in poor condition precisely because they were so well used as interior design elements. Many, moreover, have questionable seal impressions or no identifying seals at all. In a collaborative studio operation as successful as that of his predecessor Sōsetsu, the master's hand seldom emerges unequivocally, and Sōsetsu's assumption of that supervisory role is perhaps best considered by viewing the large intact floral compositions without weighty regard given to any seals present (in this instance a rounded Sōsetsu "Inen" seal, and square red "Sōsetsu" impression). These byōbu are remarkable for their lack of ostensible décor. An airy composition and subtly controlled pools of wet ink describing variegated leaf forms characterize the pictorial attitude. Eschewing a gold-foil background, the artist composed islands of vegetation, which upon close inspection reveal an orchestrated succession of brushstrokes and carefully adjusted ink washes whose shapes identify a bewildering array of flowers categorized according to the passage of the seasons (beginning with spring on the right). No outlining brush-strokes define shapes. The only indications of ground are pale ink washes at the base of a floral group, and man's presence is denoted by a simple, plain wooden trellis supporting the wood peonies and young wisteria. Unlike the seventeenth-century floral still-life painting tradition in Europe, this view of plant life has many perspectives, professes little interest in portraying objective reality or presenting overt painterly skills, and lacks any dazzling worldly goods to enhance its appearance. Comparison with Autumn Evening with Full Moon on Musashino Plain [2000.4.1-2] is instructive, revealing in its quiet artificiality an early, innovative Rinpa (school of Kōrin) approach to composition while suggesting age-old references to idealized garden of paradise settings in religious paintings. Ogata Kōrin (1658-1716) and his followers represent a further stage in the evolution of such imagery and references. |
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Date | mid-1600s | |||||||||||||||||||||||
Medium | Pair of six-fold screens, ink and color on paper | |||||||||||||||||||||||
Dimensions | Image: 153.7 x 329.2 cm (60 1/2 x 129 5/8 in.); Including mounting: 170.2 x 348.4 cm (67 x 137 3/16 in.) | |||||||||||||||||||||||
Collection |
institution QS:P195,Q657415 |
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Current location |
Japanese Art |
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Accession number |
1968.193.2 |
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Place of creation | Japan, Edo period (1615-1868) | |||||||||||||||||||||||
Credit line | Leonard C. Hanna, Jr. Fund | |||||||||||||||||||||||
References | https://clevelandart.org/art/1968.193.2 | |||||||||||||||||||||||
Source/Photographer | https://clevelandart.org/art/1968.193.2 |
Licensing
This file is made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication. | |
The person who associated a work with this deed has dedicated the work to the public domain by waiving all of their rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.
http://creativecommons.org/publicdomain/zero/1.0/deed.enCC0Creative Commons Zero, Public Domain Dedicationfalsefalse |
This file was donated to Wikimedia Commons as part of a project with the Cleveland Museum of Art. See the Open Access at the Cleveland Museum of Art.
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 16:05, 26 March 2019 | 15,702 × 7,722 (346.93 MB) | Madreiling | pattypan 18.02 |
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Camera manufacturer | Sinar Photography AG |
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Author | Howard Agriesti |
Exposure time | 39/2,500 sec (0.0156) |
ISO speed rating | 50 |
Date and time of data generation | 14:25, 26 May 2015 |
Width | 15,702 px |
Height | 7,722 px |
Bits per component |
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Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
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Software used | Adobe Photoshop CC 2014 (Windows) |
File change date and time | 13:27, 8 June 2015 |
Exposure Program | Not defined |
Exif version | 2.21 |
Shutter speed | 6 |
Metering mode | Unknown |
Light source | Unknown |
Flash | Flash did not fire |
Color space | sRGB |
Exposure mode | Auto exposure |
White balance | Auto white balance |
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