How a forgotten Japanese shopkeeper became a master of the National Treasure

How a forgotten Japanese shopkeeper became a master of the National Treasure
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In short: Tawaraya Sōtatsu began his career selling fans and decorated paper in a Kyoto shop, yet he evolved into one of Japan's most revered painters. Though he faded into obscurity for two centuries, his innovative techniques and folding screens now rank among the nation's most celebrated artistic achievements.

Born around 1570, Sōtatsu operated a Kyoto business called Tawaraya, which specialized in decorated objects like screens and kimono patterns. His transition from a commercial designer to a celebrated painter was marked by his partnership with the calligrapher Hon'ami Kōetsu. Together, they produced elaborate works such as the Sagabon books and the Anthology with Cranes, a handscroll featuring gold and silver pigments. This collaboration, which lasted until approximately 1620, helped establish the Rinpa school, a lineage of artists influenced by their shared aesthetic.

Sōtatsu is particularly noted for his mastery of tarashikomi, a method where he introduced fresh pigment into still-wet paint to create fluid, atmospheric effects. This technique is prominently displayed in works like his Dragon and Clouds screen. His reputation grew significantly during his lifetime; in 1630, he received the title of hokkyō, the third-highest rank for Buddhist artists. Despite this success, the details of his life, including his birth and his death around 1640, remain largely shrouded in mystery.

Today, Sōtatsu is the second-most represented painter in the National Treasures of Japan list. His most famous works, such as the Wind God and Thunder God screens, have inspired generations of artists, including Ogata Kōrin and Sakai Hōitsu, who created their own homages to his designs. While his work was once overlooked, the efforts of collectors like Charles Lang Freer helped bring his genius to international attention, culminating in major retrospectives that cemented his status as a cornerstone of Japanese art history.

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