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Open a larger version of the following image in a popup: Attributed to Ogata Kōrin, Cypress Trees
Open a larger version of the following image in a popup: Attributed to Ogata Kōrin, Cypress Trees
Open a larger version of the following image in a popup: Attributed to Ogata Kōrin, Cypress Trees
Open a larger version of the following image in a popup: Attributed to Ogata Kōrin, Cypress Trees

Attributed to Ogata Kōrin

Cypress Trees 

Color on golden paper, pair of six-panel folding screens
180.5 x 354 cm each (overall)


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%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3ECypress%20Trees%C2%A0%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22artist%22%3EAttributed%20to%20Ogata%20K%C5%8Drin%3C/div%3E%3Cdiv%20class%3D%22medium%22%3E%3Cp%3EColor%20on%20golden%20paper%2C%26nbsp%3Bpair%20of%20six-panel%20folding%20screens%3Cbr/%3E%0A180.5%20x%20354%20cm%20each%20%28overall%29%3C/p%3E%3Cbr/%3E%0A%3C/div%3E
Sakai Hoitsu was well aware of the present work. The woodblock reproduction published in the 1826 Korin hyaku-zu ko-hen (The second volume of hundred paintings of Korin) compiled by Hoitsu, with the description of “pair of folding screens in color, no sign nor seal,” seem to match with the present work. Hoitsu not only knew about the work, but also borrowed it in his own paintings. In his The Twelfth Month, one piece of Birds and Flowers of the Twelve Months in Sannomaru Shozokan, the rhythmical depiction of the leaves of the cypress trees obviously derived from the present work.

Hoitsu’s attribution of the present work to Korin is crucial, yet further examination is in need. Korin’s Black Pine and Maple Tree in the University Art Museum, Tokyo University of the Arts, faithfully reproduced Tawaraya Sotatsu’s screen of the same motif in Yamatane Museum of Art, albeit certain details reflecting Korin’s characteristics. For instance, Korin’s screen emphasizes the curve of the black pine in the foreground. In the present work, the branch stretching from the thick trunk towards right resembles very much to the above-mentioned black pine in Korin’s screen. Although only this evidence does not lead to a firm conclusion, there is a possibility that the present work is by Korin.

The present work might derive from works such as Sotatsu’s Black Pine and Cypress in Ishikawa Prefectural Museum of Art. In this work, the top of the trunk is obscured by the haze just as the present work. The motif of cypress is singled out here, same as that of black pine in Korin’s Black Pine in Tokyo National Museum.

Ogata Korin (painter, crafts designer; 1658−1716)
Also known as Koretomi; Koresuke; Masatoki; Ichinojo; Dosu; Jakumei; Choko-ken; Nichiju.
Kyoto-born mid Edo period painter, crafts designer, and the master who accomplished the Rimpa School. The second son of Soken, and elder brother of Kenzan. Studied under the Kano School painter Yamamoto Soken, later aspired to revive the style of Hon’ami Koetsu and Tawaraya Sotatsu, whom he greatly admired, and established his world in a highly decorative and lavish manner. Also got his hands in ceramic painting for Kenzan in his late years, which left many masterpieces. Known for Irises, Red and White Plum Blossoms, and Writing Box with Design of Yatsu-hashi Bridge.
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