Maejima Soyu (Act. 16th Century)
Maejima Soyu (Act. 16th Century)

Rikka zu (Flower arrangement)

細節
Maejima Soyu (Act. 16th Century)
Rikka zu (Flower arrangement)
Sealed Soyu and Utogyoshi no in
Hanging scroll; ink and color on paper
33 7/8 x 17 1/8in. (86 x 43.5cm.)
Box signed and authenticated by the painter Tani Buncho (1763-1840) dated fourth month, 1839, the painter Yokota Jokei (1764-1842) and Chikkoku dojin
出版
Nakamura Tanio, "Soyu to Gyokuraku: Shinshutsu no rikkazu o chushin toshite" (Soyu and Gyokuraku: Considering a newly discovered flower-arrangement painting), Yamato Bunka [Journal of the Yamato Bunkakan Museum, Nara] 48 (1968): pl. 2.
Nakamura Tanio, ed., Sesson to kanto suibokuga, vol. 63 of Nihon no bijutsu (Tokyo: Gabundo, 1971), pl. 137 (cited as by Kano Gyokuraku).
Tokyo National Museum, ed., Kanoha no kaiga Paintings of the Kano School (Tokyo: Tokyo National Museum, 1979), pl. 50.
Kanazawa Hiroshi and Kawai Masatomo, eds., Suiboku no hana to tori-Muromachi no kacho Flower and Bird Paintings of Japan, Muromachi Period), vol. 2 of Kachoga no sekai (World of bird and flower painting) (Tokyo: Gakushu Kenkyusha, 1982), pl. 105.
Daiichi Art Center, ed., Tokubetsuten: Ikebana bijutsuten zuroku (Catalogue of a special exhibition: Exhibition of the art of flower arrangement) (Atami: MOA Art and Cultural Foundation and MOA Museum of Art, 1986), pl. 24.
Tokyo Metropolitan Teien Museum, ed., Ota Dokan kinen bijutsuten: Muromachi bijutsu to sengoku gadan Ohta Dokan Memorial Art Exhibition: Art of the Muromachi and Sengoku Periods (Tokyo: Metropolitan Teien Museum, 1986), pl. 41.
展覽
Tokyo National Museum, "Kanoha no kaiga Paintings of the Kano School," 1979.10.9-11.25
MOA Museum of Art, Atami, "Tokubetsuten: Ikebana bijutsuten" (Special exhibition: Exhibition of the art of flower arrangement), 1986.6.1-27
Tokyo Metropolitan Teien Museum, "Ota Dokan kinen bijutsuten: Muromachi bijutsu to sengoku gadan Ohta Dokan Memorial Art Exhibition: Art of the Muromachi and Sengoku Periods," 1986.10.5-11.9

拍品專文

Almost nothing is known about this painter's life, but he came from eastern Japan (the Kanto region). He moved to Kyoto, and his work then gained in sophistication and variety. It is likely that he studied there with a Kano master--some of his landscapes have been misidentified as the work of Kano artists. His only figure painting, an early work based on a Chinese model and with seals reading Maejima and Soyu, is in the collection of the Metropolitan Museum of Art. One of the seals on the painting shown here reads Uto Gyoshi in. For a sixteenth-century painting by Uto Gyoshi in the Burke Collection, see Miyeko Murase, Bridge of Dreams (New York: The Metropolitan Museum of Art, 2002), pl. 60.

This work was likely made to memorialize a significant arrangement made for a particular event. Paintings of formal flower arrangements dating from the Muromachi period are extremely rare; masters handed down their creations in scrolls as secret documents. Here, red and white chrysanthemums complement autumn grasses, regally displayed in a metal vase. The Tatehana or Rikka (Standing flower) style first appeared in the late fifteenth century. Rikka flower arrangement developed from the Ikenobo style practiced by the Senkei school in Kyoto. These tall, upright arrangements would be featured on ceremonial and festive occasions.

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