尾形光琳- 燕子花図（かきつばたず） 六曲屏風 Japanese Iris Screen - Ogata Korin

O Biombo "Iris Laevigata", do famoso artista Ogata Korin, em exposição no museu Shinchi , cidade de Chiryu. Provincia de Aichi. Patrimonio Nacional Japonês. São inúmeros os artistas escritores, poetas, pintores... que buscam a mais sublime expressão da leveza em suas obras. Mas foram poucos os que obtiveram sucesso nesta empreitada até os dias de hoje. Korin Ogata (1658 1716) foi um deles. Através de linhas arredondadas e suaves, conseguiu dar extrema leveza a suas obras, simultaneamente cleans e modernas( mesmo se tratando de um pintor nascido na segunda metade do século 16). gata Korin, importante pintor japonês que influenciou a arte européia e pintores impressionistas de seu tempo. Ogata Korin - Iris Laevigata Screen - Shinchi Museum Chiryu City. Perhaps the most popular-almost overfamiliar-design in all of Japanese art is Korin's panorama of iris flowers spreading across two golden screens. Ogata Kōrin (尾形 光琳 ?), 1658 - June 2, 1716) was a Japanese painter and lacquerer. He was born in Kyoto, to a wealthy merchant who had a taste for the arts and is said to have given his son some elementary instruction therein. Kōrin also studied under Soken Yamamoto, the Kanō school, Tsunenobu and Gukei Sumiyoshi, and was greatly influenced by his predecessors Hon'ami Kōetsu and Tawaraya Sōtatsu. On arriving at maturity, however, he broke away from all tradition, and developed a very original and quite distinctive style of his own, both in painting and in the decoration of lacquer. The characteristic of this is a bold impressionism, which is expressed in few and simple highly idealized forms, with an absolute disregard for both realism and the usual conventions. In lacquer, Kōrin's use of white metals and of mother-of-pearl is notable; but herein he followed Koyetsu. Korin died at the age of fifty-nine. His chief pupils were Kagei Tatebayashi and Shiko Watanabe, but the present knowledge and appreciation of his work are largely due to the efforts of Sakai Hōitsu, who brought about a revival of Kōrin's style. An artist of the Rinpa school, he is particularly known for his gold-foil folding screens. A screen in the Museum of Fine Arts, Boston depicting Matsushima is a particularly famous work, and his "Irises" in the Nezu Museum is a National Treasure of Japan. Korin was an artist of so many facets that no single work can contain them all, but Irises comes close to such a summation. Typical is its start in literature and its termination in decorative refinement. This range, which was also characteristic of the Koetsu-Sotatsu interest, was pressed by Korin to the ultimate degree. Sotatsu had been content to halt at a dramatic climax, where decorative considerations sustained the literary stimulus yet remained subservient to the poetic or imaginative ingredients. Korin relaxed the poetic thread and tightened the decorative one. Perhaps one may forget that his iris flowers had their seed in the Ise Monogatari and accept them directly for their flamboyant splendor of color and their acute space relationships. In this regard Korin is more "modern" than Sotatsu. He could almost qualify as a twentieth-century abstract painter-almost as a forerunner of Matisse. This is stated neither in praise not in blame but as a matter-of-fact recognition of their similarity in aesthetic approach. 尾形光琳（おがたこうりん）の燕子花図（かきつばたず）は、6枚のパネルから成る屏風を左右に配して一双（一対）となる大作で、修復を終え4年ぶりの公開。一双であることを生かした遊び心のある構図に、大家の豪快な筆が乗った作品でした。 他、会期前期の展示では、燕子花図と同じ六曲屏風の「菊図」が素敵でした。計算し尽くされた構図の延長上にある繊細な描画。不思議と所有欲を掻き立てる魅力がありました. 尾形 光琳（おがた こうりん、万治元年（1658年） - 享保元年6月2日（1716年7月20日））は、江戸時代の画家。工芸家。 後世「琳派」と呼ばれる、装飾的大画面を得意とした画派の代表的画家である。主に京都の富裕な町衆を顧客とし、王朝文化時代の古典を学びつつ、明快で装飾的な作品を残した。その非凡なデザイン感覚は「光琳模様」という言葉を生み、現代に至るまで日本の絵画、工芸、デザイン等に与えた影響は大きい。画風は大和絵風を基調にしつつ、晩年には水墨画の作品もある。大画面の屏風のほか、香包、扇面、団扇などの小品も手掛け、手描きの小袖、蒔絵などの作品もある。また、実弟の尾形乾山の作った陶器に光琳が絵付けをするなど、その制作活動は多岐にわたっている。