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367:. Koetsu was given clay by Donyu II, the grandson of the first Raku potter, Chōjirō I. Even though Kōetsu form was inspired by the Raku family tradition, he was such a great artist he added his own character to his tea bowls. One of these (called "Fuji-san") is designated a National Treasure. In all of Kōetsu's surviving correspondence, only one letter in fact concerns swords. He is believed to have passed on his professional obligations in this matter to his adopted son Kōsa and grandson Kōho.
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459:, and whether this land grant was generous, or a form of exile. Nevertheless, it was here that Hon'ami would develop his unique style of painting and design which would later develop into the Rinpa school. The retreat was called Taikyo-an, and was used for prayer meetings and meditation, in addition to its function as an artist colony. A number of important figures, including the historian
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Lacquer was yet another field in which Kōetsu was innovative and very active. Though earlier works attributed to him are quite conservative, towards the end of the 16th century and beginning of the 17th, he began to employ a number of innovative techniques. He specialized in designs using tin, lead
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and paint. The two worked very closely for about fifteen years after the turn of the 17th century, and some scholars believe the two artists were related by marriage. Sōtatsu was a major member of the Rinpa school, and his paintings most likely reflect some degree of Hon'ami's influence and style.
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Rosenfield, John M. (1999). Extraordinary
Persons: Works by Eccentric, Nonconformist Japanese Artists of the Early Modern Era (1580–1868) in the Collection of Kimiko and John Powers. Cambridge, Massachusetts: Harvard Art
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In 1615, Hon'ami began an artist community northwest of Kyoto, in a place called
Takagamine granted him by Tokugawa Ieyasu. Scholars disagree on whether this community was more focused on art or on religion, specifically
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Although trained as a swordpolisher (not a "swordsmith" in the standard
Western sense; in Japan the tasks of forging and finishing a blade are performed by different craftsmen), Hon'ami became accomplished in pottery,
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of actors who lived near the Hon'ami family compound in northern Kyoto. He may have performed in Nō productions as a chanter, and designed a number of works for use by the actors or the theater.
312:; he would advise the Maeda on swords, paintings, and other art objects. Kōetsu would meet many members of the art community through his connections with the Maeda, including tea master
463:, visited there towards the end of Kōetsu's life. After his death in 1637, the colony was disbanded and the land was returned to the shogunate by Hon'ami Kōho, Kōetsu's grandson.
410:). Though he created a number of works in this classical style, Kōetsu also developed his own personal style of calligraphy, and taught it to many of his students.
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He was also one of the greatest calligraphers of his period, inspired as many of Japan's greatest calligraphers were, by the court writings of the
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390:. He produced a wide variety of works, all in a flowing cursive style that recalled those classical traditions. Along with
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Kōetsu was born into a family of sword polishers and connoisseurs who had served the imperial court as well as such major
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of
Buddhism. Kōetsu's great-grandfather, Hon'ami Honkō (Kiyonobu), became a devout follower of the Nichiren priest
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Fisher, Felice (2000). The Arts of Hon'ami Koetsu, Japanese
Renaissance Master. Philadelphia Museum of Art.
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wrote that in Japan, Kōetsu is "a national treasure several times over, about as famous there as
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Fister, Pat (1985). "Hon'ami Kōetsu." Kodansha
Encyclopedia of Japan<. Tokyo: Kodansha Ltd.
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Kodansha
Encyclopedia of Japan, vol. 3, entry for Hon'ami Koetsu, by Patricia Fister.
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is in the West", even though in the United States he is "scarcely known".
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Bridge of dreams: the Mary Griggs Burke collection of
Japanese art
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and other base metals, along with gold and mother-of-pearl.
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Hon'ami entertained a close relationship with the painter
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Kōetsu would also develop a close relationship with the
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205:; 1558 – 27 February 1637) was a Japanese
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555:https://eishouzan.honpouji.nichiren-shu.jp/
129:Calligrapher, craftsman, lacquerer, potter
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477:Hon'ami Kōetsu and his mother appear in
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553:Official website of Honpō-ji (Kyoto).
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494:Samurai II: Duel at Ichijoji Temple
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513:Hughes, Robert (2000-10-23).
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515:"The Subtle Magic of Koetsu"
261:on Paper Decorated with Deer
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27:Japanese craftsman
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259:Shinkokin-wakashu
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300:) of Shōgun
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161:Notable work
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623:1637 deaths
618:1558 births
557:(Japanese).
219:connoisseur
151:Calligraphy
146:Lacquerware
118:Nationality
612:Categories
531:2018-11-13
501:References
467:Collectors
404:Kan'ei Era
388:Wang Xizhi
249:Early life
213:, potter,
169:White Raku
99:1637-02-27
520:Time Asia
481:'s novel
428:gold leaf
365:Raku ware
342:by Kōetsu
238:Time Asia
211:lacquerer
570:Museums.
491:'s film
406:(寛永の三筆,
400:Sanpitsu
267:warlords
199:Japanese
183:Movement
121:Japanese
30:In this
484:Musashi
402:of the
349:lacquer
298:dōbōshū
287:Nisshin
269:of the
141:Pottery
73: (
41:Hon'ami
36:surname
331:Skills
203:本阿弥 光悦
53:本阿弥 光悦
34:, the
449:Japan
445:Kyoto
111:Japan
107:Kyoto
86:Japan
82:Kyoto
394:and
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93:Died
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71:1558
68:Born
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