Maki (Chinese black pine) and maple trees

Korin made this copy of the work attributed to Sotatsu when he was in his fifties and his style had reached full maturity. We can see the difference in character between the two artists in the elegance of Korin’s style.

This is a copy of the work attributed to Tawaraya Sotatsu in the Yamatane Museum of Art. Painting the work, Korin made alterations in the original by, for example, changing the angle of curvature of the trunk of the podocarp at the right edge, adjusting the densities of the leaves, and eliminating the autumn grasses. In the differences in expression that have thereby emerged, we can see the differences in the characters of the two artists, i.e., the profound, serious Sotatsu versus the elegant Korin. The painting is inscribed with the signature “Hokkyo Korin,” as well as stamped with the round, red-character seal “Masatoki.” According to Yamane Yuzo, Korin used the artist’s name Masatoki from the end of the Hoei period (1704-11) to the beginning of the Shotoku period (1711-16), so this copy dates from a time when Korin was in his fifties and his style had reached full maturity. Korin also made a copy of Sotatsu’s Thunder-God and Wind-God screen (collection Kennin-ji temple) around this same time. We therefore see that although he had already developed the characteristic Rinpa style of depicting plants and flowers without outlines in the mokkotsu (“boneless”) technique, in such works as his Irises screen, Korin in his late years tried to learn once again from Sotatsu, the father of the Rinpa school. (Writer : Reiichi Noguchi Source : Selected Masterpieces from The University Art Museum, Tokyo National University of Fine Arts and Music: Grand Opening Exhibition, The University Art Museum, Tokyo National University of Fine Arts and Music, 1999)