Japanese Art and Culture
Lee Jay Walker
Modern Tokyo Times
The influence of Buddhism on the art of Kaihō Yūshō (1533–1615) is unmistakable, as is the central role this faith played throughout his life. Yūshō was far from alone in this regard—many Japanese artists of his time were deeply inspired by Buddhism. However, as a lay Buddhist priest who had once served as a page at the renowned Tōfuku-ji temple in Kyoto, Yūshō embodied a particularly seamless integration of faith and artistic expression during the middle period of his life.
During his time at Tōfuku-ji, he absorbed profound knowledge from prominent Zen Buddhist priests based in Kyoto. This experience gave him deep insight into the philosophical dimensions of Zen, an appreciation for high culture, the legacy of Chinese art, and other cultural currents that shaped the richness of this era in Japanese history.
Tokuoka Shinsen (1896–1972) was born near Kyoto, a region steeped in cultural and historical significance. It is therefore easy to see how places like Koyasan, Kyoto, and Nara—centers of Japan’s spiritual and artistic heritage—shaped his creative sensibilities.
Born during the Meiji Period (1868–1912), Tokuoka lived through a time of profound cultural, political, and social transformation, all of which left a lasting imprint on his artistic vision.
Ogata Kōrin (1658–1716) was born in the early years of Japan’s Edo Period and lived in Kyoto, a city deeply associated with high culture and refined aesthetics—qualities that are strongly reflected in his sophisticated art.
His younger brother, Ogata Kenzan (1663–1743), was a renowned ceramicist of the Edo Period who also painted. While both brothers were prominent figures of the Rinpa school, Kōrin primarily focused on painting, just as Kenzan devoted himself mainly to ceramics despite his skill in painting.
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