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painting, which was freely executed and expressive (ideally these artists were scholar-amateurs
who did not paint for a living). Japanese literati artists, although forbidden to travel to
China, studied and emulated the southern style of painting and Chinese art theories
through imported books. Nanga painters generally declined to serve the samurai class, and
preferred instead to survive by selling works to educated merchants and farmers. (Woodson,
p. 23). They often painted for each other and prided themselves as being intellectuals, poets,
tea masters, raconteurs, as well as painters. They are most associated with smaller formats,
such as hanging scrolls and fans, but several Nanga artists also produced screen paintings.
Nanga artists primarily resided in Kyoto and Osaka. (See slides #11, 12, and 13)
The Rinpa (or Rimpa) school originated with the artist Tawaraya Sotatsu active
(1600–1640) but is named for his successor, Ogata Korin (1658–1716)—the second syllable
of the name Korin forms the first in Rinpa. These artists came from the merchant class
in Kyoto. They became friendly with members of the impoverished nobility and revived
courtly aesthetics and themes. Like the Tosa artists they took as their favorite subjects classical
literature and poetry, as well as birds and flowers of the four seasons. They are known for
brilliantly colored paintings and lavish use of gold. Rinpa artists worked on every format
imaginable—screens, scrolls, and fans, lacquer objects and ceramics. Their compositions
often accentuate the flatness of the painting surface and emphasize pattern and design. (See
slide #18)
Asian Art Museum Education Department