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The Wind and Thunder Gods

Tawaraya Sotatsu

The Wind and Thunder Gods exhibition

The Wind and Thunder Gods

High-resolution facsimiles

Material
printed, gold on washi paper
Period of creation
Tsuzuri Project
Stage 4 2010-2011年
Stage 14 2020-2021
Recipient
Kenninji Temple

Original

Cultural property designation
National Treasure
Artist
Tawaraya Sotatsu
Historical era
Edo (17th century)
Material
ink, color and gold on washi paper
Medium
Pair of two-fold screens
Size
Each screen H154.5 × W169.8 cm
Collection
Kenninji Temple

Description

Tawaraya Sotatsu, the father of the Rinpa School, is said to have paved the way for Ogata Korin and Sakai Hoitsu to follow. While much about his life is unknown, he is thought to have come from a family of upper class townspeople owning a painting business in Kyoto. He became popular among the Imperial Court and townspeople at the time by creating decorative and innovative forms utilizing gold and silver paints without being held back by the styles of existing schools. Not only is this work representative of the Rinpa school, it is also renowned as one of the most important masterpieces in the history of Japanese art. Although there is no signature or seal, it is widely accepted that this work is by Tawaraya Sotatsu.
Originally, the Wind God and Thunder God were deified forces of nature believed to control the wind, thunder, and rain. In Japanese Buddhism, they were regarded as attendants to the Thousand-Armed Kannon.The dynamic composition—featuring only the two gods as the central motifs—is thought to have been Sotatsu‘s original concept.This work reflects the free and spirited cultural atmosphere of its time.

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How the Works Are Created

How the Works Are Created

This section introduces the production process of high resolution facsimiles by combining Canon’s latest imaging technology and the authentic craftsmanship of Kyoto in the Tsuzuri Project.

About the Tsuzuri Project

About the Tsuzuri Project

This section shares the significance and passion behind the Tsuzuri Project and how we utilize the high resolution facsimiles of precious cultural assets, which are designated as national treasures and important cultural assets, and Japanese artworks that have left Japan.