Tawaraya Sotatsu Research Paper Example | Topics and Well Written Essays - 2250 words

Tawaraya Sotatsu - Research Paper ExampleBackground of Tawaraya Sotatsu Sotatsu was natural in the seventeenth century in Japan. There isnt a trace of the condemnation frame when he was born or died, who is parents were and what his status was. The only eearly reference is to his name, which stands for shop. It was besides known that during this time, there were social differences in divide and hierarchy, specifically between spiritualists, royalty and those who were designated to work in labor designated areas. Sotatsu belonged to the commoners group, known as a climb merchant. However, he began to notice his talent for the arts and painting earlier, which take him to connect to idealistic individuals that were known as warriors and which could educate Sotatsu on painting and illustrations. This led him to move into the genre of painting while working among more(prenominal) wealthy merchants so he could develop his talents in a different manner. It was from this that Sotatsu began to become a drawing card that revitalized literary painting for the period, specifically allowing the Edo Period to begin to transform in the types of full treatment that were offered and the approach to art that was considered in high regard during the time1. Techniques of Sotatsu There were several techniques that Sotatsu used to become distinguished within Japan and to push forward the art work that was associated with the time. One common technique was the raw sienna paintings that Sotatsu used to sell among the higher class and merchants. These were illustrated with authentic illustrations that were based around figures and decorative ideologies for the time. Flowers, trees, birds and animals are the about common seen in the fan paintings, as well as the other works of Sotatsu. Narrative scenes were also depicted, specifically with the fan paintings that were available. The main themes which were a part of the fan paintings were the most important, specifically becaus e it was a newer bearing of approaching the decorative arts2. The fan paintings led into other decorative materials that Sotatsu was known for using with the paintings and drawings. The materials that Sotatsu used led to the change in illustrations to sign painting. Most of the illustrations before this time were done with the drawings and lines that were used with sign. However, Sotatsu began to experiment with the ink and the ways in which it could shape and change the images. The ink became a way of painting because of the shading that he was able to incorporate into the paintings, as well as new textures which were implied through the ink. This began by applying a socio-economic class of pigment to the ink on paper or silk for the drawing. This was followed by a second layer of ink or colorant, usually which was applied before the ink was dry. The new pigment would then bleed outward to form a larger mark on the original material. This is combined with what is referred to a s the tarakashomi method. This was popular during this time frame but was no longer used among artists. Sotatsu began to popularize this concept with his works, which was inclusive of dripping or pooling. The ink would drip into the layers of pigments for visual effects. The fluidity of this particular ink would also allow for the painting to be applied to the work that was being illustrated, creating a thicker texture to the lines that were a part of the illustration3. The approaches which were taken for the layered pigments, ink