Iwasa Matabei

Self-portrait, unusually early for Japanese art, said to have been painted as he was dying in 1650. Important Cultural Property.

Template:Family name hatnote Template:Nihongo; original name Araki Katsumochi <ref>Encyclopædia Britannica, "Iwasa Matabei"</ref> 1578 – July 20, 1650) was a Japanese artist of the early Tokugawa period,<ref>Encyclopædia Britannica, "Iwasa Matabei"</ref> who specialized in genre scenes of historical events and illustrations of classical Japanese and Chinese literature, as well as portraits. He was the son of Araki Murashige, a prominent daimyō of the Sengoku period who had been made to commit suicide, leaving Matabei to be raised with his mother's family name, Iwasa.<ref>Paine, 249–250</ref><ref>Encyclopædia Britannica, "Iwasa Matabei"</ref>

Matabei's work was noted for its distinctive figures, with large heads and delicately drawn features, and he was effective both in colour and monochrome ink-wash painting, using an individual brush technique combining Tosa and Kanō elements.<ref>Paine, 250</ref> Although trained by Kanō Naizen of the Kanō school, he was more influenced by the traditions of the Tosa school, and signed a late series of portraits of the Thirty-six Poetry Immortals (1640) commissioned by the shōgun Tokugawa Iemitsu for a temple as "the artist Matabei of the later current from Tosa Mitsunobu".<ref>Paine, 250</ref>

The works of Matabei have an affinity with the early paintings of Template:Transliteration, but there is a disagreement among scholars as to whether they are Template:Transliteration themselves or not.<ref>Template:Cite book</ref> In Japan, it is common to regard Matabei as the originator of Template:Transliteration.<ref>Template:Cite book</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref> On the other hand, there is a theory that Matabei is not the source of Template:Transliteration, but rather an independent painter of the Tosa school, because his patrons were from high social classes. According to this theory, he is misunderstood as the source of Template:Transliteration only because he is confused with the Template:Transliteration painter of the same name (Ōtsu no Matabei) who appears in Chikamatsu's plays.<ref>Paine, 247–250</ref>

His son Katsushige (d. 1673) was also a painter, known for dancing figures in a style like that of his father.<ref>Paine, 250</ref>

Notable works

The only work by Iwasa Matabei that has been designated a National Treasure is Template:Nihongo3, which is held by the Tokyo National Museum. The term Template:Nihongo3 refers to Template:Nihongo3 depicting the scenery and customs of the urban and suburban areas of Kyoto. Numerous works were created from the Sengoku period to the Edo period, and only two works by Iwasa Matabei and Kanō Eitoku have been designated as National Treasures. Matabei's work depicts the Kyoto landscape around 1615 and is known as the "Funaki version" because it was owned by the Funaki family. It shows the Nijō Castle of the Tokugawa clan on the left and the Hōkō-ji Great Buddha Hall, symbolizing the Toyotomi clan, on the right.<ref>Template:Cite web</ref>

• 
  Left panel of the Template:Nihongo3 (Funaki Version). National Treasure.
• 
  Right panel of the Template:Nihongo3 (Funaki Version). National Treasure.

Template:Nihongo3 is a work depicting the festival held at Toyokuni Shrine in 1604 to commemorate the seventh anniversary of Toyotomi Hideyoshi's death. It has been designated as an Important Cultural Property and is housed in the Tokugawa Art Museum. Although the preparations for this festival were carried out under the direction of Tokugawa Ieyasu, the missionary Jean Crasset analyzes that Ieyasu's intention was to adopt Hideyoshi's achievements as his own. On the left side of the artwork, there is a scene of people in the city dancing enthusiastically in extravagant costumes against the backdrop of the Hōkō-ji Great Buddha Hall. On the right, there is a scene depicting the dedication of the traditional dances noh and dengaku at the Toyokuni Shrine.<ref>Template:Cite web</ref>

Matabei established a workshop and painted magnificent and long Template:Nihongo3 based on the text of Template:Nihongo3. The MOA Museum of Art houses three masterpieces: Template:Nihongo3, Template:Nihongo3, and Template:Nihongo3. These three works are considered masterpieces, with the first two being designated as Important Cultural Properties. Template:Nihongo3 tells the story of Ushiwaka's revenge for the murder of his mother, Tokiwa Gozen. Template:Nihongo3 depicts a romantic story involving Ushiwaka. Template:Nihongo3 tells the story of Horie Saburo's child who seeks revenge for the death of his parents.<ref>Template:Cite web</ref>

"Court Lady Enjoying Wayside Chrysanthemums"
17th century. Hanging scroll, ink and colour on paper. Important Cultural Property.

The work titled Template:Nihongo3 in the Yamatane Museum is one of the works created by dividing a pair of folding screens, each with six panels that originally depicting twelve different subjects into twelve parts, each of which was transformed into an individual hanging scroll. This particular work of art has been designated as an Important Cultural Property.<ref>Template:Cite web</ref>

References

• Encyclopædia Britannica, "Iwasa Matabei"
• Paine, Robert Treat, in: Paine, R. T. & Soper A, "The Art and Architecture of Japan", Pelican History of Art, 3rd ed 1981, Penguin (now Yale History of Art), Template:ISBN

External links

• Bridge of dreams: the Mary Griggs Burke collection of Japanese art, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Iwasa Matabei (see index)
• Personal history of Iwasa Matabei - Jyuluck-Do Corporation