|
=Topi baja delapan piringan bes
=Ogata Korin=
{{Infobox artist
|name = Ogata Kōrin<br />尾形光琳
|image =
|caption =
|alt =
|birth_date = {{Birth-date|1658}}
|birth_place = [[Kyoto]], [[Japan]]
|death_date = {{Death date|1716|06|2|df=yes}}
|death_place = [[Kyoto]], [[Japan]]
|nationality = Japanese
|field = {{plainlist|
* [[Painting]]
* [[Japanese lacquerware|Lacquerware]]
* [[Design]]}}
|training =
|movement = [[Rinpa school]]
|works = {{plainlist|
* ''[[Irises screen|Irises]]'' <small>([[List of National Treasures of Japan (paintings)|National Treasure]])</small>
* ''[[Red and White Plum Blossoms]]'' <small>([[List of National Treasures of Japan (paintings)|National Treasure]])</small>
* ''Wind God and Thunder God'' <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
* ''Writing Box with Eight Bridges'' <small>([[List of National Treasures of Japan (crafts: others)|National Treasure]])</small>}}
}}
'''Ogata Kōrin''' ({{lang-ja|尾形光琳}}; 1658 – June 2, 1716) was a [[Japanese people|Japanese]] [[Painting|painter]], [[Japanese lacquerware|lacquerer]] and [[designer]] <ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. vii.</ref> of the [[Rinpa school]].<ref>Nussbaum, Louis-Frédéric. (2005). "Kōrin" in {{Google books|p2QnPijAEmEC|''Japan Encyclopedia'', p. 561|page=561}}.</ref>
Kōrin is best known for his ''[[byōbu]]'' folding screens, such as ''[[Irises screen|Irises]]'' <ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> and ''[[Red and White Plum Blossoms]]'' {{sfn|Hayakawa|Shirono|Miura|Matsushima|2007|p=57}} (both registered [[List of National Treasures of Japan (paintings)|National Treasures]]), and his paintings on ceramics and lacquerware <ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. vii.</ref> produced by his brother [[Ogata Kenzan]] (1663–1743). Also a prolific designer, he worked with a variety of decorative and practical objects, such as [[Hand fan#East Asia|round fans]], ''makie'' writing boxes or ''inrō'' medicine cases.
He is also credited <ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 189.</ref> with reviving and consolidating the [[Rinpa school]] of Japanese painting, fifty years after its foundation by [[Honami Kōetsu|Hon'ami Kōetsu]] (1558–1637) and [[Tawaraya Sōtatsu]] (c. 1570 – c. 1640). In fact the term "Rinpa", coined in the [[Meiji period]], means "school of [Kō]rin".<ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 310.</ref> In particular he had a lasting influence on [[Sakai Hōitsu]] (1761–1828), who replicated many of his paintings and popularized his work, organizing the first exhibition of Kōrin's paintings at the hundredth anniversary of his death.<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 26.</ref>
== Biography ==
Kōrin was born in [[Kyoto]] into the wealthy Ogata merchant family, dedicated to the design and sale of fine textiles.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. v.</ref> The family business, named ''Karigane-ya'', catered the aristocratic women of the city.<ref>{{cite web |url=http://www.kaikodo.com/index.php/exhibition/detail/magnificent_obsessions/175 |title=33. Ogata Korin (1658–1716) 尾形光琳 |author=<!--Not stated--> |date= |website= |publisher=kaikodo |access-date=2017-09-21 |quote=}}</ref> His father, Ogata Sōken (1621–1687), who was a noted calligrapher in the style of Kōetsu and patron of [[Noh|Noh theater]],<ref>{{cite web |url=http://www.kaikodo.com/index.php/exhibition/detail/magnificent_obsessions/175 |title=33. Ogata Korin (1658-1716) 尾形光琳 |author=<!--Not stated--> |date= |website= |publisher=kaikodo |access-date=2017-09-21 |quote=}}</ref> introduced his sons to the arts.<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in [[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica]] (11th ed.). Cambridge University Press.</ref> Kōrin was the second son of Sōken. His younger brother [[Ogata Kenzan]] was a celebrated [[pottery|potter]] and [[Painting|painter]] in his own right, with whom he collaborated frequently.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. vii.</ref> Kōrin studied under Yamamoto Soken (active ca. 1683–1706) of the [[Kanō school]],<ref>Nussbaum, Louis-Frédéric. (2005). "Kōrin" in {{Google books|p2QnPijAEmEC|''Japan Encyclopedia'', p. 561|page=561}}.</ref> Kano Tsunenobu (1636–1713) and Sumiyoshi Gukei (1631–1705), but his biggest influences were his predecessors [[Hon'ami Kōetsu]] and [[Tawaraya Sōtatsu]].<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in [[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica]] (11th ed.). Cambridge University Press.</ref>
Sōken died in 1687,<ref>{{cite web |url=http://www.kaikodo.com/index.php/exhibition/detail/magnificent_obsessions/175 |title=33. Ogata Korin (1658–1716) 尾形光琳 |author=<!--Not stated--> |date= |website= |publisher=kaikodo |access-date=2017-09-21 |quote=}}</ref> and the elder brother took over the family business, leaving Kōrin and Kenzan free to enjoy a considerable inheritance. After this, Kōrin led a very active social life, but his spendings run him into financial difficulties the following years, partly due to loans made to feudal lords.<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 57 .</ref> This forced him to pawn some of his treasured possessions. A letter sent by him to a pawnbroker in 1694 regarding "one writing box with deer by Kōetsu" and "one Shigaraki ware water jar with lacquer lid" survives.<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 57-59 .</ref>
Kōrin established himself as an artist only late in life.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. iv.</ref> In 1701 he was awarded the honorific title of ''hokkyō''<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 59 .</ref> ("Bridge of the Dharma"), the third highest rank awarded to Buddhist artists, and in 1704 he moved to Edo,<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref><ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 312.</ref> where lucrative commissions were more readily available. His early masterpieces, such as his ''[[Irises screen|Irises]]'' are generally dated to this period.<ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> During this time he also had the opportunity to study the ink paintings of medieval monk painters [[Sesshū Tōyō]] (1420-1506) and [[Sesson Shukei]] (c. 1504 - c. 1589).<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref> These are seen as important influences in his work from that period, the ''Rough Waves'' painting for example.<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref>
In 1709 he moved back to [[Kyoto]].<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 25-26.</ref><ref>''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art''. (2000) p. 312.</ref> He built a house with an atelier in Shinmachi street in 1712 and lived there the last five years of his life.<ref>{{cite web |url=http://www.moaart.or.jp/en/facility/korinyashiki/ |title=Korin’s Residence (reconstructed) |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-20 |quote=}}</ref><ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 59 .</ref> His masterpieces from that last period, such as the ''[[Red and White Plum Blossoms]]'' screens, are though to have been painted there.<ref>{{cite web |url=http://www.moaart.or.jp/en/facility/korinyashiki/ |title=Korin’s Residence (reconstructed) |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-20 |quote=}}</ref>
Kōrin died, famous but impoverished<ref>Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' p. 59 .</ref> on 2 June 1716, at the age of 59. His grave is located at the Myōken-ji temple in [[Kyoto]].<ref>{{cite web |url=http://www.kyohaku.go.jp/eng/special/koremade/20151010_rinpa.html |title=RINPA: The Aesthetics of the Capital |author=<!--Not stated--> |date= |website= |publisher=Kyoto National Museum |access-date=2017-09-17 |quote=}}</ref> His chief pupils were Kagei Tatebayashi, Shiko Watanabe<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in Encyclopædia Britannica (11th ed.). Cambridge University Press.</ref> and Roshu Fukae,<ref>Nussbaum, Louis-Frédéric. (2005). "Kōrin" in {{Google books|p2QnPijAEmEC|''Japan Encyclopedia'', p. 561|page=561}}.</ref> but the present knowledge and appreciation of his work are largely due to the early efforts of his brother Kenzan<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 23.</ref> and later [[Sakai Hōitsu]], who brought about a revival of Kōrin's style.<ref>Fairbrother Strange, Edward. (19115). "[[wikisource:1911 Encyclopædia Britannica/Kōrin, Ogata|Kōrin, Ogata]]" in [[Encyclopædia Britannica Eleventh Edition|Encyclopædia Britannica]] (11th ed.). Cambridge University Press.</ref>
==Works==
{{nihongo|'''[[Irises screen|Irises]]'''|紙本金地著色燕子花図}} is a pair of six-panel ''[[byōbu]]'' [[folding screen]]s made circa 1701–05,{{sfn|Daugherty|2003|p=42}}<ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> using ink and color on gold-foiled paper.<ref>{{cite web |url=http://www.nezu-muse.or.jp/en/collection/detail.php?id=10301 |title=Irises |author=<!--Not stated--> |date= |website= |publisher=[[Nezu Museum]] |access-date=2017-09-16 |quote=}}</ref> The screens are among the first works of Kōrin as a ''hokkyō''. It depicts abstracted blue Japanese irises in bloom, and their green foliage, creating a rhythmically repeating but varying pattern across the panels. The similarities of some blooms indicate that a stencil was used.<ref>{{cite web |url=http://www.columbia.edu/itc/ealac/schirokauer/iris/ |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Columbia University |access-date=2017-09-16 |quote=}}</ref> The work shows influence of Tawaraya Sōtatsu, and it is representative of the Rinpa school. It is inspired by an episode in the Heian period text [[The Tales of Ise]].
<gallery class="center" caption="''[[Irises screen|Irises]]''" mode="packed" heights="180px">
KORIN-Irises-L.jpg|
KORIN-Irises-R.jpg|
</gallery>
Each screen measures 150.9 by 338.8 centimetres (59.4 in × 133.4 in). They were probably made for the Nijō family, and were presented to the [[Nishi Honganji]] Buddhist temple in [[Kyoto]], where they were held for over 200 years. They were sold by the temple in 1913, and are now held by the [[Nezu Museum]],<ref>{{cite web |url=http://www.nezu-muse.or.jp/en/collection/detail.php?id=10301 |title=Irises |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-16 |quote=}}</ref> where they are exhibited occasionally (last time, from April 12 to May 14, 2017<ref>{{cite web |url=http://www.nezu-muse.or.jp/en/exhibition/past2017_n03.html |title=Special Exhibition: Irises and Mountain Stream in Summer and Autumn|author=<!--Not stated--> |date= |website= |publisher=[[Nezu Museum]] |access-date=2017-09-17 |quote=}}</ref>). They are a [[List of National Treasures of Japan (paintings)|National Treasure of Japan]].
Kōrin made a similar work about 5<ref>{{cite web |url=http://www.metmuseum.org/art/collection/search/39664 |title=Irises at Yatsuhashi (Eight Bridges) |author=<!--Not stated--> |date= |website= |publisher=Metropolitan Museum of Art |access-date=2017-09-20 |quote=}}</ref> to 12<ref>{{cite web |url=http://www.nezu-muse.or.jp/popup_e2.html |title=National Treasure Irises of the Nezu Museum and Eight-Bridge of the Metropolitan Museum of Art |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-20 |quote=}}</ref> years later, another pair of six-panel screens, known as {{nihongo|'''[[Irises screen#Irises at Yatsuhashi|Irises at Yatsuhashi]]'''|八橋図屏風}}. It is a more explicit reference to the ''Yatsuhashi (Eight Bridges)'' episodes from The Tales of Ise, including the depiction of an angular bridge that sweeps diagonally across both screens.<ref>{{cite web |url=http://www.metmuseum.org/art/collection/search/39664 |title=Irises at Yatsuhashi (Eight Bridges) |author=<!--Not stated--> |date= |website= |publisher=Metropolitan Museum of Art |access-date=2017-09-20 |quote=}}</ref>
{{multiple image
| background color = #fff
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| image_style = border:none;
| footer_background = #fff
| header ="[[Irises screen#Irises at Yatsuhashi|Irises at Yatsuhashi]]"
| image1=Irises at Yatsuhashi (left).jpg
| image2=Irises at Yatsuhashi (right).jpg
}}
The screens were made using ink and color on gold-foiled paper and measure 163.7 by 352.4 centimetres (64.4 in × 138.7 in in) each. They have been held by the [[Metropolitan Museum of Art]] in [[New York City]] since 1953, and were last displayed in 2013.<ref>{{cite web |url=http://www.nezu-muse.or.jp/popup_e2.html |title=National Treasure Irises of the Nezu Museum and Eight-Bridge of the Metropolitan Museum of Art |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-20 |quote=}}</ref>
Both Irises screens were displayed together for the first time in almost a century<ref>{{cite web |url=http://www.nezu-muse.or.jp/popup_e2.html |title=National Treasure Irises of the Nezu Museum and Eight-Bridge of the Metropolitan Museum of Art |author=<!--Not stated--> |date= |website= |publisher=Nezu Museum |access-date=2017-09-20 |quote=}}</ref> in 2012 at the ''"Korin: National Treasure Irises of the Nezu Museum and Eight-Bridge of The Metropolitan Museum of Art"'' exhibition at the [[Nezu Museum]].<ref>{{cite web |url=http://www.metmuseum.org/art/collection/search/39664 |title=Irises at Yatsuhashi (Eight Bridges) |author=<!--Not stated--> |date= |website= |publisher=Metropolitan Museum of Art |access-date=2017-09-20 |quote=}}</ref>
{{nihongo|'''Wind God and Thunder God'''|紙本金地著色風神雷神図}} is a pair of two-folded screens<ref>{{cite web |url=http://www.tnm.jp/modules/r_collection/index.php?controller=dtl&colid=A11189.1&t=search |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=Tokyo National Museum |access-date=2017-09-17 |quote=}}</ref> made using ink and color on gold-foiled paper.<ref>{{cite web |url=http://www.emuseum.jp/detail/100321/001?word=Wind+god+and+Thunder+God&d_lang=en&s_lang=en&class=&title=&c_e=®ion=&era=&cptype=&owner=&pos=1&num=1&mode=simple¢ury= |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=National Institutes for Cultural Heritage |access-date=2017-09-17 |quote=}}</ref> It is a replica of an original work by [[Tawaraya Sōtatsu]] which depicts [[Raijin]], the god of lightning, thunder and storms in the Shinto religion and in Japanese mythology, and [[Fūjin]], the god of wind. Later [[Sakai Hōitsu]], another prominent member of the Rinpa school, painted his own version of the work. All three versions of the work were displayed together for the first time in seventy-five years in 2015, at the [[Kyoto National Museum]] exhibition ''"Rinpa: The Aesthetics of the Capital"''.<ref>{{cite web |url=http://www.kyohaku.go.jp/eng/special/koremade/20151010_rinpa.html |title=RINPA: The Aesthetics of the Capital |author=<!--Not stated--> |date= |website= |publisher=Kyoto National Museum |access-date=2017-09-17 |quote=}}</ref>
<gallery class="center" caption="''Wind God and Thunder God''" mode="packed" heights="200px">
Korin Fujin Raijin.jpg|Kōrin's version
Fujinraijin-tawaraya.jpg|Sōtatsu's original
</gallery>
The screens measure 421.6 by 464.8 centimetres (166 in × 183 in) each.<ref>{{cite web |url=http://www.tnm.jp/modules/r_collection/index.php?controller=dtl&colid=A11189.1&t=search |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=[[Tokyo National Museum]] |access-date=2017-09-17 |quote=}}</ref> At some point [[Sakai Hōitsu|Hōitsu]] owned them, and in fact he painted one of his most famous works in the back of these screens. The monumental two-sided ''byōbu'' screens became a symbol of the Rinpa tradition, but both sides of the screens have since been separated to protect them from damage.<ref>{{cite web |url=http://www.emuseum.jp/detail/100321/001?word=Wind+god+and+Thunder+God&d_lang=en&s_lang=en&class=&title=&c_e=®ion=&era=&cptype=&owner=&pos=1&num=1&mode=simple¢ury= |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=National Institutes for Cultural Heritage |access-date=2017-09-17 |quote=}}</ref> They are now part of the collection of the [[Tokyo National Museum]], where they are exhibited occasionally. They are an [[Important Cultural Property (Japan)|Important Cultural Property]].<ref>{{cite web |url=http://www.tnm.jp/modules/r_collection/index.php?controller=dtl&colid=A11189.1&t=search |title=Wind God and Thunder God |author=<!--Not stated--> |date= |website= |publisher=[[Tokyo National Museum]] |access-date=2017-09-17 |quote=}}</ref>
{{nihongo|'''Red and White Plum Blossoms'''|紙本金地著色紅白梅図}} is a pair of two-panel ''[[byōbu]]'' [[folding screen]]s painted by Kōrin using ink and color on gold-foiled paper.<ref>''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015) p. iv.</ref> A late masterpiece, completed probably circa 1712–16 in his atelier in [[Kyoto]],<ref>{{cite web |url=http://www.moaart.or.jp/en/facility/korinyashiki/ |title=Korin’s Residence (reconstructed) |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-20 |quote=}}</ref> it is considered his crowning achievement.<ref>{{cite web |url=http://www.moaart.or.jp/en/collections/053/ |title=Red and White Plum Blossoms |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-27 |quote=}}</ref> The simple, stylized composition of the work<ref>Carpenter, John T. (2012). ''Designing Nature: The Rinpa Aesthetic in Japanese Art.'' p. 146.</ref> depicts a patterned flowing river with a [[Prunus mume|white plum tree]] on the left and a red plum tree on the right.{{sfn|Hayakawa|Shirono|Miura|Matsushima|2007|p=58}} The plum blossoms indicate the scene occurs in spring.{{sfn|Nikoru|1997|p=291}}
No documentation exists from before the 20th century on the commission or [[provenance]] of the screens.{{sfn|Daugherty|2003|p=39}} They receive mention in no [[Edo period|Edo-period]] publications on Kōrin's works and were not copied by his followers, which suggests they were not well known. A journal article in 1907{{efn|「尾形光琳筆 梅花図屏風に就て」 ''"Ogata Kōrin hitsu Baika Zu Byōbu ni tsuite"'', in ''Kokka'' (『國華』), issue 201, p. 569 (1907)}} is the first known publication about them, and their first public display came in a 200th-anniversary exhibition of Kōrin's work in 1915.{{sfn|Daugherty|2003|p=43}}
In addition to the use ''[[tarashikomi]]'', the work is notable for its plum flowers depicted using pigment only, without any outline, now a popular technique known as ''Kōrin Plum Flowers''.<ref>{{cite web |url=http://www.moaart.or.jp/en/collections/053/ |title=Red and White Plum Blossoms |author=<!--Not stated--> |date= |website= |publisher=MOA Museum of Art |access-date=2017-09-27 |quote=}}</ref>
<gallery class="center" caption="''[[Red and White Plum Blossoms]]''" mode="packed" heights="300px">
Red and White Plum Blossoms.jpg|
</gallery>
Each screen measures 156.5 × 172.5 centimetres (61.6 × 67.9 in). ''Red and White Plum Blossoms'' belonged for a long time to the [[Tsugaru clan]], but were pursached by [[Mokichi Okada]] in the mid 50s.{{sfn|Daugherty|2003|p=39}} Along with the rest of Okada's collection,{{sfn|Daugherty|2003|pp=39–40}} it is now owned by the [[MOA Museum of Art]] in [[Atami]], where they are displayed a month per year in late winter, the season when the plum blossoms bloom. It is a [[List of National Treasures of Japan (paintings)|National Treasure of Japan]].
==Gallery==
<br />
<center>'''[[Byōbu]] [[folding screen]]s'''</center>
<center><gallery>
File:Cranes, Pines, and Bamboo I.jpg|Cranes, Pines, and Bamboo
File:Autumn Grasses.jpg|Autumn Grasses
File:Black Pines and Maple Tree.jpg|Black Pines and Maple Tree <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:The Poet Bo Juyi.jpg|The Poet Bo Juyi
File:Waves at Matsushima.jpg|Waves at Matsushima
File:Cranes (left).png|Cranes
File:Cranes (right).png|Cranes
</gallery></center>
<center><gallery>
File:Cranes, Pines, and Bamboo II.jpg|Cranes, Pines, and Bamboo
File:Tai Gong Wang by Ogata Korin (Kyoto National Museum).jpg|[[Tai Gong Wang]] <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:雪松群禽図屏風.png|Ducks and Snow-Covered Pine Trees
File:The Thirty-Six Immortal Poets.png|The Thirty-Six Immortal Poets <small>(Important Art Object)</small>
File:Rough Waves by Ogata Kōrin.jpg|Rough Waves
File:Bamboo and plum tree.png|Bamboo and plum tree <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Flowering Plants in Autumn.jpg|Flowering Plants in Autumn
</gallery></center>
<br />
<center>'''[[Hanging scroll]]s'''</center>
<center><gallery>
File:Nakamura Kuranosuke by Ogata Korin (Yamato Bunkakan).jpg|Portrait of Nakamura Kuranosuke <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:The Empress Akikonomu.jpg|The Empress Akikonomu
File:The Tales of Ise, Yatsuhashi.jpg|The Tales of Ise, ''Yatsuhashi''
File:The Immortal Qin Qao.jpg|The Immortal Qin Qao
File:Cormorant Fishing by Ogata Kōrin.jpg|Cormorant Fishing
File:Tiger and Bamboo.jpg|Tiger and Bamboo
File:Hotei by Ogata Kōrin.jpg|Hotei
</gallery></center>
<center>'''[[Crafts]]'''</center>
<center><gallery>
File:WritingBox EightBridges OgataKorin.JPG|Writing Box with Eight Bridges <small>([[List of National Treasures of Japan (crafts: others)|National Treasure]])</small>
File:Writing Box with Sumi bay design.png|Writing Box with Sumi bay design <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Kosode with autumn flower-plants pattern on twill weave fabric by Ogata Kōrin.png|''Kosode'' with autumn flower-plants pattern <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Square dish. Design of poet watching wild geese in underglaze iron brown (front).jpg|Square dish, design of poet watching wild geese <small>([[Important Cultural Property (Japan)|Important Cultural Property]])</small>
File:Square Dish with Courtier Gazing at a Waterfall Design.jpg|Square dish with courtier gazing at a waterfall
File:Three-case inrô with gourd-vine design.jpg|Three-case inrô with gourd-vine design
</gallery></center>
==Notes==
{{reflist|group=lower-alpha}}
{{reflist}}
==References==
{{Portal|Japan|Arts|Visual arts|History}}
*{{EB1911|wstitle=Kōrin, Ogata|author=Edward Fairbrother Strange}}
* Randall, Doanda. (1960). ''Kōrin.'' New York: Crown. [http://www.worldcat.org/title/korin/oclc/001487440 OCLC 1487440]
* Pekarik, Andrew. (1980). ''Japanese Lacquer, 1600-1900.'' The Metropolitan Museum of Art.
* {{cite book
|last = Nikoru
|first = C. W.
|title = Japan: The Cycle of Life
|url = https://books.google.com/books?id=u1OMoSSSEkQC
|year = 1997
|publisher = [[Kodansha International]]
|isbn = 978-4-7700-2088-8
|ref = harv}}
* [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/153737 ''Bridge of Dreams: the Mary Griggs Burke collection of Japanese art'']. (2000) The Metropolitan Museum of Art Libraries. <small>(fully available online as PDF)</small>
* Nussbaum, Louis-Frédéric and Käthe Roth. (2005). [https://books.google.com/books?id=p2QnPijAEmEC&client=firefox-a ''Japan encyclopedia.''] Cambridge: [[Harvard University Press]]. {{ISBN|978-0-674-01753-5}}; [http://www.worldcat.org/oclc/58053128?referer=di&ht=edition OCLC 58053128]
* {{cite journal
|last = Daugherty
|first = Cynthia
|title = Historiography and Iconography in Ogata Korin's Iris and Plum Screens
|publisher = Kyushu Institute of Technology
|journal = Ningen Kagaku Hen
|issue = 16
|date = March 2003
|pages = 39–91
|url = https://ds.lib.kyutech.ac.jp/dspace/retrieve/2431/Daugherty16.pdf
|ref = harv}}
* {{cite journal
|last1 = Hayakawa
|first1 = Yasuhiro
|last2 = Shirono
|first2 = Seiji
|last3 = Miura
|first3 = Sadatoshi
|last4 = Matsushima
|first4 = Tomohide
|last5 = Uchida
|first5 = Tokugo
|title = Non-Destructive Analysis of a Painting, National Treasure in Japan
|journal = Advances in X-ray Analysis
|volume = 50
|pages = 57–63
|publisher = JCPDS-International Centre for Diffraction Data
|year = 2007
|issn = 1097-0002
|url = http://www.icdd.com/resources/axa/VOL50/V50_07.pdf
|format = PDF
|ref = harv}}
* ''Irises and Red and White Plum Blossoms. Secret of Korin's Designs''. (2015). Nezu Museum.
==External links==
* {{Commonscat-inline|Ogata Korin}}
{{Authority control}}
{{DEFAULTSORT:Ogata, Korin}}
[[Category:1658 births]]
[[Category:1716 deaths]]
[[Category:17th-century Japanese artists]]
[[Category:18th-century Japanese artists]]
[[Category:17th-century painters]]
[[Category:18th-century painters]]
[[Category:17th-century Japanese painters]]
[[Category:18th-century Japanese painters]]
[[Category:Japanese painters]]
[[Category:Japanese lacquerware artists]]
[[Category:People from Kyoto]]
[[Category:17th-century Japanese people]]
[[Category:18th-century Japanese people]]
[[Category:Rinpa school]]
=Kanō Tan'yū=
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