Bunshichi Kobayashi (circa 1861-1923), Boston, San Francisco, Tokyo, and Yokohama, to 1906 
From 1906 to 1919
Charles Lang Freer (1854-1919), purchased from Bunshichi Kobayashi in 1906 
Freer Gallery of Art, gift of Charles Lang Freer in 1920 
 See Original Screen List, S.I. 123-124, L. 115, pg. 34, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.
 See note 1.
 The original deed of Charles Lang Freer's gift was signed in 1906. The collection was received in 1920 upon the completion of the Freer Gallery.
- Previous Owner(s) and Custodian(s)
Charles Lang Freer 1854-1919
Kobayashi Bunshichi (C.L. Freer source) ca. 1861-1923
The brilliant paintings on this pair of folding screens are regarded as masterpieces among only six surviving sets of screens by Sotatsu, a talented and innovative artist who headed a painting workshop known as Tawaraya. As a townsman, Sotatsu produced paintings such as fans for popular consumption. By the late 1620s, however, Sotatsu was painting for the imperial court, and his works survive in the collections of the Kyoto imperial palace. For his artistic merit, he was granted the honorary Buddhist ecclesiastical title Hokkyo (Bridge of the Law), which is included in his signature on these screens.
Matsushima (Pine Islands) is the name of a famous site (meisho) near Sendai, a city in Miyagi Prefecture in northeastern Japan. Its beauty inspired both poets and painters. In Sotatsu's screens the rock from which pine trees grow are rendered in brilliant mineral colors of green, blue, and brown, highlighted with gold. Waves in animated forms are delineated in alternating lines of ink and gold, producing a luminous effect. Clouds and embankments are rendered in particles of gold leaf accented with silver, which has darkened over time to a soft black tone.
Sotatsu's innovative composition creates a dynamic interplay among the land and cloud forms, the bending pines, and churning waves. His lifelong interest in pictorial composition left a lasting legacy. Later painters of the Rimpa school, such as Ogata Korin (1658-1716), repeated the Matsushima theme in their work. The Matsushima screens were probably painted in the early Kan'ei era (1624-44), a period of cultural efflorescence in Kyoto.
- Published References
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- Title uknown. vol. 11. pp. 2-3.
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- Johei Sasaki. Edo Kaiga I: Early Period (1615-1715). no. 209 Tokyo, October 1983. p. 29, fig. 33.
- W. Aubrey Cartwright. Guide to Art Museums in the United States: East Coast, Washington to Miami., 1st ed. New York. p. 39.
- Kobayashi Tadashi. Edo-no-Kaiga [A Kaleidoscope of Painting Styles: Essays on Edo Period Paintings]. Tokyo. pp. 40-41, fig. 22.
- Edo Paintings. Tokyo. pp. 45, 49.
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- unknown title. vol. 60, no. 913, October 2008. p. 88.
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- Ryō Furuta. Yawaraya Sotatsu. Tokyo. pp. 104-105, fig. 15.
- Catalogue of the Feinberg Collection of Japanese Art. Cambridge, MA, April 2021. p. 114, fig. 1.
- Shuko Nishimoto. Korin, Kenzan. Meiho Nihon No bijutsu, vol. 20 Tokyo. p. 115.
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- Thomas Lawton, Linda Merrill. Freer: a legacy of art. Washington and New York, 1993. pp. 131, 144, 145, fig. 96.
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- unknown title. Tokyo, December 2008. p. 228, cover.
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- Penelope Mason, (Revised by) Donald Dinwiddie. History of Japanese Art., 2nd ed. Upper Saddle River, New Jersey. p. 269, fig. 311.
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- Phaidon Editors. 30,000 Years of Art: The Story of Human Creativity Across Time & Space. New York. p. 412.
- The Freer Collection. vol. 3, no. 8 New York and Washington, June 1912. pp. 614-615.
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- Collection Area(s)
- Japanese Art
- Web Resources
- Google Cultural Institute
- CC0 - Creative Commons (CC0 1.0)
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