琳派について／What is Rimpa.

Historically, Rimpa (琳派), is one of the major schools of Japanese painting. It was established in 17th century Kyoto by Hon'ami Kōetsu (本阿弥光悦1558–1637) and Tawaraya Sōtatsu (俵屋宗達died 1643), under the influence of the classical Japanese painting style of Yamato-e. It evokes a gentle nature, which is common in Japanese art. Rimpa is, at the same time, an attractive decorative art, and with its dramatic and amusing compositions, Rimpa quickly became very popular among 17th century audiences. Both Sōtatsu and Kōetsu had their own studios, and their own apprentices and many of their great masterpieces remain in circulation today.

俵屋宗達(-1643)と本阿弥光悦(1558-1637)が京都で創始した、日本美術の中でも大きな流派のひとつです。大和絵などから影響を受け、17世紀に生まれました。和風の柔らかさと豪華な装飾性の両方を備えていて、大胆な構図も面白く、当時から大変な人気を博しました。宗達も工房を持ち、弟子を育て、素晴らしい作品を沢山残しました。そうした作品は「宗達（光琳）派」とも呼ばれたようです。

Later, the style was consolidated by the brothers Ogata Kōrin (尾形光琳1658–1716) and Ogata Kenzan (尾形乾山1663–1743). The two of them brought renewed interest in Rimpa by introducing the essence of Rimpa into their painted works, as well as lacquer-ware, ceramics, and so on. Many of their works remain preserved today. The "Rim" of Rimpa comes from Kōrin’s name, since he had established a standard Rimpa style.

Later, Sakai Hōitsu (酒井抱一, 1761-1828) popularized the style of Ogata Kōrin.

後に、尾形光琳(1658-1716)・乾山兄弟が宗達派の作風を取り入れて生かし、絵画や漆芸、陶芸などの諸工芸においても琳派を発展させ、数々の名作を残しました。琳派を確立させたという事で、琳派の「琳」は、光琳の名前から来ています。

These three people, starting with Sōtatsu, then Kōrin and Hōitsu followed in each other’s footsteps. They admired and studied Rimpa as if they were first discovering their art. They were each so well versed in Rimpa that they reinterpreted it into their own style. This way of learning is called “shishuku 私淑 (adoration)”. Rimpa is also representative of the aesthetic sense of Japan. It has the feature of having become tradition through adoration.

Who was Sakai Hōitsu

Hōitsu was the founder of Edo-Rimpa. He was born in Edo. His father was the lord (daimyo) of Himeji Castle in Harima Province. His family had been one of Ogata Kōrin’s sponsors. He brought back the style and popularity of Ogata Kōrin, and developed it into Edo-Rimpa which is more delicate and sophisticated. He also opened his studio “Uge-an”, and had a number of great students,such as Suzuki Kiitsu and many others. Thanks to the printing technology of that era, Hoitsu managed to publish some small paperback Rimpa design pattern booklets.

Perhaps due to these activities, Rimpa design remains alive, and we can still find its representations in our daily lives.

さらにこれを、江戸の酒井抱一(1761-1828)が再興します。

この宗達、光琳、抱一の三人は、直接出会ってはいないのですが、それぞれが深く傾倒し、まるで愛弟子のようによく学び、よく作風を捉え、さらに独自に展開させる程に精通しています。これを「私淑」といいます。琳派は日本を代表する美意識の一つであり、私淑という形で受け継がれてきたという特徴があります。

酒井抱一（さかいほういつ）について

酒井抱一は、江戸琳派の開祖です。大名家に生まれました。酒井家は元来、尾形光琳のパトロンであったといいます。抱一は尾形光琳の残した作品の復興を行い、繊細で洒脱な江戸の琳派へと発展させました。

また「雨華庵」という工房を開き、鈴木其一など沢山の優秀な弟子たちを育てた事でも有名です。

当時の印刷技術の助けもあり、琳派の図案集などもいろいろと出版しています。こうして琳派がより広く人々に知られるようになったおかげなのでしょうか、今現在も身近な意匠の中に琳派は感じられ、そして息づいています。

What is “Uge-an”

Hoitsu’s adopted son, Keiho(鶯蒲1808－1841) was to be “Uge-an ⅡThis title, Uge-an (雨華庵), was the name of Hoitsu’s studio, which produced many great Rimpa artists. Uge-an II was succeeded by the male heirs of the Sakai family starting with Keiichi Sakai (鶯一), ”Uge-an III, followed by Doitsu Sakai (道一1845-1913), “Uge-an Ⅳ”, then, Hoshuku Sakai (抱祝1878-1956), “Uge-anⅤ”, and finally, Hodo Sakai (抱道1918-1995), “Uge-anⅥ”.

These “Uge-an” masters had passed on various brush techniques and composition methods featured in the Edo-Rimpa School’s which Hoitsu had left them.

In addition, the method of using diluted black ink to create a varied gray tone is one of the standard features of Rimpa Sumi-e.

Since Sakai Hodo was the principal of a middle school, he started teaching, by chance, his Rimpa Sumi-e class to mothers of his students. That was the beginning of contemporary Rimpa Sumi-e. Fortunately, these Rimpa methods have been handed down to us. However on the unfortunate side, this class, a kind of standard bearer, was closed in October 2014. The class was also the location where I met with my good friends as we learned Sumi-e together.

雨華庵（うげあん）について

酒井抱一の工房の名前が「雨華庵」であり、これは歴史的なものと言えるでしょう。息子や弟子が代々酒井家の中で後継者となり、それぞれ「雨華庵2世」「雨華庵3世」という様に名乗り、その看板を保持してきました。

そして、「雨華庵」の正統な後継者たちは、抱一の残した琳派の筆法、琳派を特徴づける絵の構成を受け継いできたのです。また淡い墨を用いた、濃淡の幅のゆたかさも琳派の墨絵の特徴です。

「雨華庵6世」の酒井抱道先生は、中学校の校長先生でした。生徒たちの母親にむけて墨絵の手ほどきを始めたのが偶然のきっかけで、抱道先生は教室を持つようになり、沢山の弟子を育てました。

しかしそのお教室自体は、2014年に惜しまれつつなくなりました。今日のように我々一般にも琳派の墨絵が学べるようになった、貴重なお教室であり、私もよい仲間に出会えました。