Ogata Kōrin

Born as the second son of the wealthy Karigane-ya textile merchant family in Kyoto. His father, Sōken, was a noted calligrapher and patron of Noh theater, exposing Kōrin to a refined aesthetic environment from a young age.¹

After inheriting a fortune, Kōrin led a lavish social life that resulted in financial ruin. By 1694, he was forced to pawn his possessions, a hardship that reportedly pushed him to establish himself as a professional artist.¹

In his 'Irises' screens, Kōrin used stencils to create a rhythmic repetition of patterns. The work is noted for its bold abstraction, referencing 'The Tales of Ise' without actually depicting the bridge mentioned in the text.¹

Kōrin established himself as an artist late in life. In 1701, he was awarded the honorific title of 'Hokkyō,' marking the start of a golden period where he produced masterpieces like the 'Irises' screens.¹

Moving to Edo in 1704, he took commissions from feudal lords and studied the ink paintings of medieval masters Sesshū and Sesson. This study is believed to have added powerful brushwork and depth to his style.¹

In his late masterpiece 'Red and White Plum Blossoms,' he utilized 'tarashikomi' and the 'Kōrin Plum' technique (depicting flowers without outlines), blending high decorativeness with a sense of realism.¹

In 1712, he built a house with an atelier on Shinmachi Street in Kyoto. It is believed that he painted his crowning achievement, the 'Red and White Plum Blossoms' screens, during his final five years at this location.¹

A century after Kōrin's death, Sakai Hōitsu popularized his work through replicas and exhibitions. Hōitsu's efforts ensured that Kōrin's style was preserved and passed down as the Edo Rinpa tradition.¹