20 THE NATIONAL GALLERY OF ART 



to others under Tsunenobu Kano. It is, however, evident that Korin ad- 

 mired the styles of Koyetsu and Sotatsu, which he followed until he evolved 

 one of his own. Like Koyetsu, Korin was also adept in the Chanoyu and in 

 landscape gardening. * * * 



The careless and indifferent manner in which extemporaneous works of 

 Korin are apparently done gives one at first an impression that he was too 

 independent of the conventionalities of art. But closer study of his work 

 compels a change of opinion, the admiration extorted being all the greater 

 because in no one of his productions is there a trace of that mental toil so 

 inseparable from mediocrity. In truth his pictures mirror most faithfully 

 the characteristics of the age in which he lived, so varied and so suggestive. 

 His creations are always rich in grace and beauty, and never marred by that 

 wild grotesqueness which has too often been mistaken for nobility. The 

 beauty of Korin 's art is in his loftiness of conception and in the facile strokes 

 of his brush. A painter of the impressionist school, as Korin was, he did 

 not concern himself about accuracy so long as he succeeded in imparting 

 some spiritual significance, which significance, however, may in many cases 

 escape the perception of matter-of-fact observers — this subtlety being the 

 very thing which so delights the hearts of true lovers of Japanese art. * ** 



As originators of new decorative designs in the field of modern painting, 

 Korin and some of his accomplished followers are deservedly entitled to 

 high praise. Combining the telling strokes of the Kanos with the fascinating 

 coloring of the Tosas, the style of the Korin school is marked by qualities 

 ethereal in tone and irresistible in effect. It is because of its remarkable 

 success in creating a style of the piuely Japanese type by the amalgamation 

 of styles radically different in their genius that the Korin school has been 

 honored with its high place in the history of Japanese art. * * * 



It was Korin who decorated with life-size flower masses in gold and flowing 

 color the sliding doors of the aristocratic Yashikis of Toku-Gawa. The 

 Kokka. 



OGATA KENZAN. Born 1662. Died 1743. 



Son of Soken, and brother of the illustrious Korin Yuigen, was the artist's 

 given name, but as pseudonyms he used, besides Kenzan, several others, 

 such as Shinsei, Shoko, To-in, Gyokudo, Reikai, Tozen, and Shuseido. A 

 man of versatile talent, Kenzajti did not confine himself to art, but also 

 showed many accomplishments in literature and in the Chanoyu, both of 

 which he studied under his distinguished contemporary, Yoken Fujimura. 

 Nor did the artist neglect religious studies, which he piu"sued under a cele- 

 brated divine of his time. He first set up his kiln in the village of Narutaki, 

 a suburb of Kyoto, and the fact that the village lay to the Inui, i. e., to 

 the northwest of the Imperial Palace, led him to adopt the name of Kenzan, 

 or Northwestern Hill. Later he followed Prince Kimihiro to Yedo (now 

 Tokyo) and fixed his abode at Iriya-no-sato, for his revered patron had 

 entered the priesthood and dwelt in the Rinno-ji Temple, near by, on 

 Uyeno Hill. Here the artist continued his favorite occupation and was 

 accordingly called "Iriya- Kenzan." * * * 



