The name Rimpa is associated with the style of Ogata Korin (1658-1716), who is acclaimed for his innovative design and large, gorgeous works. (Rim comes from "rin" in Korin, the artist, and "pa" means school.) Shinsaku Munakata, curator of an exhibit on Rimpa school art at the Idemitsu Museum in Tokyo told the Daily Yomiuri, Rimpa artists did not have rigid blood ties or discipline.He states that. 'As red past artists, they drew freely and adventurously. This is why there is such a great variety of Rimpa works," . Rimpa School artists famous for their use of gold backgrounds include Honami Koetsu (1558-1637), Tawaraya Sotatsu (active in the late 16th-early 17th centuries), Korin and his younger brother Kenzan (1663-1743). Among the artists who preferred to use silver rather than gold were the Edo (Tokyo)-based artists Sakai Hoitsu (1761-1828) and his student Suzuki Kiitsu (1796-1858), who revived Korin's style about a century he died but hdeveloped lighter, refined works.

The difference between Shijo and Rimpa Schools:

The name 'Rimpa' describes a uniquely Japanese, highly decorative style of painting and applied arts, chiefly lacquer and ceramics, which flourished during the Edo period (1600-1868). It was named in the nineteenth century after one of the leading artists, Ogata Kōrin (1658-1716): Rimpa means 'school of Kōrin'.

The later Rimpa artists concentrated on flower, or kachōga (bird-and-flower) subjects, often influenced by the new naturalistic wash style of the Maruyama and Shijō schools.

Rimpa paintings are often in the format of small handscrolls, album leaves and fans, but many folding screens were also made with gold and silver backgrounds.

Keibun Matsumura (1779 - 1843) Born in Kyoto.His given name is Naoharu, another pen name is Kakei.
Studied the Shijo-ha style painting under his older brother the great Goshun. Good at painting Flowers & Birds pictures. Succeeded to his brother and led the prosperity of the Shijo style painting school.











Wako KIKU Tall Chrysanthemum.77x24 Miyake Wako

Born in 1939 (14th year of Showa) in Gifu Prefecture. The artist learned painting from his father who was also a professional Japanese painter. The artist was known to have done kacho-ga (bird and flower), landscapes,

Born in 1939 (14th year of Showa) in Gifu Prefecture. The artist learned painting from his father who was also a professional Japanese painter. The artist was known to have done kacho-ga (bird and flower), landscapes, 
and images of people. However regardless of what Wako painted they all received high remarks. 
A former member of the Bokujinkai and now independent. 

This is a very detailed view on an elegant background of Japans national flower. The detail in the flower is outstanding. This is a true example of excellence in Japanese Art.

What is Rimpa?
Rinpa (琳派 Rinpa), is one of the major historical schools of Japanese painting. It was created in 17th century Kyoto by Hon'ami Kōetsu (1558–1637) and Tawaraya Sōtatsu (d. c.1643). Roughly fifty years later, the style was consolidated by brothers Ogata Kōrin (1658–1716) and Ogata Kenzan (1663–1743).
The term "Rinpa" is an abbreviation consisting of the last syllable from "Kōrin" with the word for school (派 ha) (with rendaku changing this to "pa"), coined in the Meiji period. Previously, the style was referred to variously as the Kōetsu school (光悦派 Kōetsu-ha), or Kōetsu-Kōrin school (光悦光琳派 Kōetsu-Kōrin-ha), or the Sōtatsu-Kōrin school (宗達光琳派 Sōtatsu-Kōrin-ha).
Hon'ami Kōetsu founded an artistic community of craftsmen supported by wealthy merchant patrons of the Nichiren Buddhist sect at Takagamine in northeastern Kyoto in 1615. Both the affluent merchant town elite and the old Kyoto aristocratic families favored arts which followed classical traditions, and Kōetsu obliged by producing numerous works of ceramics, calligraphy and lacquerware.
His collaborator, Tawaraya Sōtatsu maintained an atelier in Kyoto and produced commercial paintings such as decorative fans and folding screens. Sōtatsu also specialized in making decorated paper with gold or silver backgrounds, to which Kōetsu assisted by adding calligraphy.
Both artists came from families of cultural significance; Kōetsu came from a family of swordsmiths who had served the imperial court and the great warlords, Oda Nobunaga and Toyotomi Hideyoshi, in addition to the Ashikaga shōguns. Kōetsu's father evaluated swords for the Maeda clan, as did Kōetsu himself. However, Kōetsu was less concerned with swords as opposed to painting, calligraphy, lacquerwork, and the Japanese tea ceremony (he created several Raku Ware tea bowls.) His own painting style was flamboyant, recalling the aristocratic style of the Heian period.
Sōtatsu also pursued the classical Yamato-e genre as Kōetsu, but pioneered a new technique with bold outlines and striking color schemes. One his most famous works are the folding screens ”Wind and Thunder Gods" (風神雷神図 Fūjin Raijin-zu) at Kennin-ji temple in Kyoto and "Matsushima" ( 松島) at the Freer Gallery.



Bird on Kiku-Crysanthemum 1900 72.9x23.8 £195 Painted by Daiuater

Later development
The Rinpa school was revived in the Genroku era (1688–1704) by Ogata Kōrin and his younger brother Ogata Kenzan, sons of a prosperous Kyoto textile merchant. Kōrin's innovation was to depict nature as an abstract using numerous color and hue gradations, and mixing colors on the surface to achieve eccentric effects, as well as liberal use of precious substances like gold and pearl.
His masterpiece "Red and White Plum Trees" (紅白梅図 Kōhakubai-zu) c. 1714/5, is now at the MOA Museum of Art in Atami, Shizuoka. A dramatic composition, it established the direction of Rinpa for the remainder of its history. Kōrin collaborated with Kenzan in painting designs and calligraphy on his brother's pottery. Kenzan remained as a potter in Kyoto until after Kōrin's death in 1716 when he began to paint professionally. Other Rinpa artists active in this period were Tatebayashi Kagei, Tawaraya Sori, Watanabe Shiko, Fukae Roshu and Nakamura Hochu.

Modern Rinpa
Rinpa was revived in 19th century Edo by Sakai Hōitsu (1761–1828), a Kanō school artist whose family had been one of Ogata Kōrin’s sponsors. Sakai published a series of 100 woodcut prints based on paintings by Kōrin, and his painting "Summer and Autumn Grasses" (夏秋草図 Natsu akikusa-zu) painted on the back of Kōrin’s "Wind and Thunder Gods screen" is now at the Tokyo National Museum.
Paintings of the early "Rinpa" artists were anthologized in small paperback booklets such as the Korin gafu (The Korin Picture Album) by Nakamura Hochu, first published in 1806. This was followed by an original work by Sakai Hoitsu called the Oson gafu, published in 1817.
Sakai had numerous students who carried the movement forward into the late 19th century, when it was incorporated into the Nihonga movement by Okakura Kakuzo and other painters. The influence of Rinpa was strong throughout the early modern period, and even today Rinpa-style designs are popular. One later artist of note is Kamisaka Sekka.

Rinpa artists worked in various formats, notably screens, fans and hanging scrolls, woodblock printed books, lacquerware, ceramics, and kimono textiles. Many Rinpa paintings were used on the sliding doors and walls (fusuma) of noble homes.

Subject matter and style were often borrowed from Heian period traditions of yamato-e, with elements from Muromachi ink paintings, Chinese Ming dynasty flower-and-bird paintings, as well as Momoyama period Kanō school developments. The stereotypical standard painting in the Rinpa style involves simple natural subjects such as birds, plants and flowers, with the background filled in with gold leaf. Emphasis on refined design and technique became more pronounced as the Rinpa style developed.

Two of the most important participants in this revival were Hon'ami Koetsu (1558–1637) and Tawaraya Sotatsu (d. ca. 1640). Both were upper-class Kyoto merchants, a group known as machishu, who allied themselves with the culturally influential yet impoverished nobility, who spearheaded the call for a return to aristocratic ideals of the late Heian period. While adept in several media, Koetsu is best known for his fluid and elegant calligraphy, inspired by Heian examples. Sotatsu is thought to have been a professional painter who revived classical yamato-e themes and images and infused them with a new stylization, drama, and emphasis on surface decoration. These men collaborated successfully to combine Koetsu's graceful calligraphy written on top of Sotatsu's decorative paintings, producing objects with a strong sense of rhythm, pattern upon pattern, and refined elegance. While these artworks understandably appealed to imperial patrons, they also attracted a number of samurai clients, who appreciated the sophistication of the court and often had close ties with the nobility.

Rinpa is a bit of a misnomer in that the term identifies artists who worked in a particular style, occasionally together, but did not form an organized or hereditary school. Although Rinpa traces its origins to Koetsu and Sotatsu, it derives its name (pa, or school, of [Ko-]rin) from Ogata Korin (1658–1716). Korin and his brother Kenzan (1663–1743) were members of a Kyoto family of textile merchants that serviced samurai, a few nobility, and city dwellers. Distantly related to Koetsu, the Ogata family owned a number of objects made by Sotatsu and Koetsu, which Korin studied carefully. Working in vivid colors or ink monochrome, often on gold ground, the prolific and versatile artist developed a painting style that was more abstracted and simplified than the compositions of his predecessors. Korin used his decorative and bold designs not only to ornament paintings but also for textiles, lacquerwares, and ceramics. Transmitted by means of pattern books and manuals, the work of the Ogata brothers inspired numerous other craftsmen.
The Rinpa school (which can also be pronounced Rimpa) was a key part of the revival in the Edo period of indigenous Japanese artistic interests described by the term yamato-e. Paintings, textiles, ceramics, and lacquerwares were decorated by Rinpa artists with vibrant colors applied in a highly decorative and patterned manner. Favored themes, which often contained evocative references to nature and the seasons, were drawn from Japanese literature, notably The Tale of Genji, The Tales of Ise, and Heian-period poems composed by courtiers.
The Rinpa school's popularity was revived in the early nineteenth century, largely due to the work of the painter Sakai Hoitsu (1761–1828), who succeeded in establishing the Rinpa school in Edo. A member of a samurai family who had patronized Korin, Hoitsu intensively studied Korin's artworks. However, he shifted the themes on which he focused, concentrating on natural images, especially representations of the four seasons, rather than scenes from classical literature. He also brought a greater attention to detail in his painting style. Hoitsu's chief student Suzuki Kiitsu (1796–1858) introduced a greater sense of naturalism to his representations of flowers and plants. The Rinpa style continued to influence artists working in a variety of media throughout the nineteenth and twentieth centuries. However, the style associated with Rinpa changed as other movements, such as ukiyo-e and Nihonga, were blended with it, altering and diluting the Rinpa style and its devotion to classical themes and characteristics.

Department of Asian Art. "Rinpa Painting Style". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2003) 
Leach, Bernard. Kenzan and his tradition;: The lives and times of Koetsu, Sotatsu, Korin, and Kenzan. Transatlantic Arts (1967). ASIN: B0006BPM10
Mizuo, Hiroshi. Edo Painting: Sotatsu and Korin (Heibonsha Survey of Japanese Art). Art Media Resources (1972). ISBN 0-8348-1011-5
Saunders, Rachel. "Le Japon Artistique: Japanese Floral Pattern Design of the Art Nouveau Era. From the Collection of the Museum of Fine Arts, Boston." Chronicle Books (2010). ISBN 978-0-8118-7276-8
Stern, Harold P. Rinpa Masterworks of the Japanese Decorative School. The Japan Society (1971). ASIN B0000EEBUB
Stanley-Baker, Joan (1984). "Japanese Art." London: Thames and Hudson Ltd.
Further Reading
Akiyama, Terukazu Japanese Painting. New York: Rizzoli, 1977.
Mason, Penelope History of Japanese Art. Upper Saddle River, N.J.: Pearson Prentice Hall, 2004.
Murase, Miyeko Bridge of Dreams: The Mary Griggs Burke Collection of Japanese Art.. New York: Metropolitan Museum of Art, 2000.
Murase, Miyeko Masterpieces of Japanese Screen Painting: The American Collections. New York: G. Braziller, 1990.
These related Museum Bulletin or Journal articles may or may not represent the most current scholarship.
Ford, Barbara Brennan "The Arts of Japan." The Metropolitan Museum of Art Bulletin, v. 45, no. 1 (Summer, 1987).
JSTOR | PDF | Supplemental PDFs
"Exhibitions [at MMA, 1972]." The Metropolitan Museum of Art Bulletin, v. 30, no. 5 (Apri–May, 1972)

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