Letter by Sakai Hoisu and Tani Buncho
- Person
-
作者酒井抱一賛者谷文晁
- Date
-
制作年 AD19
- Title
- サカイホウイツ・タニブンチョウヒツショジョウ
- Collections
- Century Akao Collection
- Depository
- Institute of Oriental Classics (Shido Bunko) Campus Mita
- Ref. number
- AW-CEN-002317-0000
- License
- CC BY Images license
- Creditline
-
慶應義塾（センチュリー赤尾コレクション）
- URL
- Classification
- Art
- AI Tagging
- Handwriting Font Line Rectangle Writing
A Rimpa School painter of the mid-Edo Period best known for Natsu-Aki Kusa Byobu-Zu (lit. Painting of Summer and Autumn Plants on a Byobu Screen; Tokyo National Museum), Sakai Hoyitsu (1761-1828) was born in Edo the younger brother of Sakai Todazane, later the Lord of Himeji Castle. In 1797, Hoyitsu became a disciple of Priest Monnyo of Nishi Honganji Temple and later was promoted to high priest. From his youth, Hoyitsu was known for versatile talents in painting, calligraphy, haikai and kyoka (humorous verses). His wide-ranging artistic pursuits spanned such different genres from ukiyoe (colored woodblock prints of Edo life) to various styles of Japanese painting, including the Nampin, Kano, Maruyama and Tosa schools. Upon recommendation by his close friend Tani Buncho, Hoyitsu became absorbed by the works painted by Ogata Korin and later published Korin Hyakuzu (lit. A Hundred Paintings by Ogata Korin), thus greatly contributing to popularizing the Korin School.This letter, as other examples of Hoyitsu’s calligraphy, shows a reflection of the Koetsu School, perhaps because Ogata Korin was also a great Koetsu fan. It is addressed to Lord Usa (of unknown identity), thanking him for a gift of a stationery box rendered in Johana Makie, or lacquerware produced in Johana in Tonami County, Toyama Prefecture. Johana Makie was also called “Johana lacquerware” or “Jigoyemon lacquerware” and is characterized by its white-colored finish of mitsudae (a sort of oil paint using lead oxide) overlaid with lacquer and colorful makie (lit. sprinkled pictures). Its origins can be traced back to the early 17th century Momoyama Period, when a lacquerer named Hata Jigoyemon mastered the mitsudae technique in Nagasaki. The newly learned art was passed on to Sasaki Tokuzayemon, the grandson of Sasaki Matabe. All the successors in this family of lacquerers used the same name of Ohara Jigoyemon after the sixth generation onward, and at the time of Hoyitsu, it was the active eighth generation (1764-1813) and ninth generation (1789-1859) of Jigoyemon who were preserving this much admired technique. Both of these Jigoyemon were known to have been among the best of all the generations. Indeed, the stationery box Hoyitsu received must have been of excellent make as he is overjoyed. His writing has a soft appearance, but the brushwork is accented with some sharp strokes.
Overview
Rights
Depository and ID
Components
OPEN DATADESIGN
Keio Object Hub makes data on cultural objects open and tries designing various experiences using open data.
Details
Identifiers
- Title (EN)
- Letter by Sakai Hoisu and Tani Buncho
Physical description
- Weights and quantities
-
Quantity 1幅
As a prototype feature, the Keio Object Hub uses AI (machine learning) to generate keywords for searches and filtering.
For the first launch, Google Cloud's Vision API will be used to analyze the images of each object and automatically generate keywords.