Hon'ami Koetsu (1558-1637), the celebrated early 17th-century Japanese artist whom the art-historian Elise Grilli likened to Leonardo da Vinci as "a versatile genius in whom all the arts and refinements of his day seemed to find their confluence," has never been the subject of a comprehensive exhibition outside Japan. From July 29 to October 29, 2000, at the Philadelphia Museum of Art, American audiences will have the rare opportunity to see outstanding examples of his work in The Arts of Hon'ami Koetsu, Japanese Renaissance Master, an exhibition of more than 100 objects, ranging from calligraphy and printed books to ceramics and lacquerwork. The exhibition will include works drawn from collections throughout Japan, Europe and the United States, and is being organized by the Philadelphia Museum of Art; The Agency for Cultural Affairs, Government of Japan; and The Japan Foundation. Dr. Felice Fischer, The Luther W. Brady Curator of Japanese Art and Acting Curator of East Asian Art at the Philadelphia Museum of Art, initiated the project and has overseen its development.
Hon'ami Koetsu could be described as an "art director" par excellence. He collaborated with other outstanding artists of his day to breathe new life into traditional formats such as handscrolls and lacquers. Koetsu revolutionized the visual effects of classical poetry scrolls, working with the artist Tawaraya Sotatsu to produce striking designs of cranes, deer and butterflies in gold and silver, over which Koetsu brushed his distinctively bold calligraphy. The famous Crane Scroll, a particularly sumptuous example of the type of scroll widely commissioned by the mercantile elite of 17th-century Japan, is designated an "Important Cultural Property" by the Japanese government, and will be on loan from the Kyoto National Museum.
In collaboration with a Kyoto-based publisher, Koetsu introduced high-quality, printed editions of classical literature. Using his calligraphy as a model, movable type was carved in wood, and the printed pages were decorated with woodblock-stamped motifs in silver and gold. Koetsu's interest in calligraphy led him to design beautiful lacquer boxes to hold the essential tools of East Asian writing: brush and inkstone. One such lacquer box, with the striking and characteristic motif of a single deer on a gold and black background, and featuring Koetsu's original use of lead inlay and a domed lid, is in the permanent collection of the Philadelphia Museum of Art.
Koetsu has the unique distinction of being the only artist with works in two different mediums--lacquerwork and ceramics--designated as "National Treasures" by the Japanese government. He was a multi-talented, irrepressible genius who inspired his contemporaries and exerted profound influence on generations to come.
Please note: Both to protect particularly sensitive works from prolonged exposure to light and to provide visitors with the broadest possible overview of Koetsu's accomplishments, on September 18th newly installed works will replace objects previously on view in the exhibition
The Arts of Hon'ami Koetsu will be accompanied by a fully illustrated catalogue including scholarly essays and object entries by exhibition curator Dr. Felice Fischer and a team of international scholars. In addition to guided tours and gallery talks, the Museum's Division of Education plans a series of programs, including a student's symposium, an Ikebana master class, performances of No theater, a tea ceremony, multi-media interactive computer stations, as well as Japanese films. Workshops on Japanese papermaking and calligraphy will also be held. For schools in the Philadelphia area, the Museum will offer student tours as well as teachers' workshops related to the exhibition. The Japan America Society of Greater Philadelphia, the Japanese House and Garden in Fairmount Park and area universities will join the Museum in developing collaborative programs.
Also presented in conjunction with The Arts of Hon'ami Koetsu is a group of special exhibitions and installations drawn from the Museum's permanent collections: Tea, Poetry, and Rimpa: Works from Japan, and Wind in the Mountains: Chinese Ming Dynasty Painting and Calligraphy (both July 1, 2000, to May 2001), and Japanese No Costumes from the Collection (May 27 to December 2000).
With a distinguished history of collecting and exhibiting Japanese art, the Philadelphia Museum of Art is a particularly appropriate venue for this exhibition. Four works by Hon'ami Koetsu are included in the Museum's permanent collections: the lacquer writing box discussed above, two shikishi poem cards mounted as hanging scrolls, and the recently acquired handscroll devoted to Love Poems from the Shinkokin Wakashu Imperial Anthology (c. 1610).
The Arts of Hon'ami Koetsu, Japanese Renaissance Master is organized by the Philadelphia Museum of Art; The Agency for Cultural Affairs, Government of Japan; and The Japan Foundation. It is supported in part by generous grants from The E. Rhodes and Leona B. Carpenter Foundation, The Henry Luce Foundation, Inc., The Pew Charitable Trusts, and the National Endowment for the Arts. Additional support was provided by Japan Airlines; William M. Hollis, Jr., and Andrea M. Baldeck, M.D.; Mr. and Mrs. Howard H. Lewis; Delphi Financial Group, inc.; and The Rosenkranz Foundation, Inc. Initial funding was provided by the Luther W. Brady, Jr., Endowment for Japanese Art Research Support. The multi-media project was created by the International Academy of Media Arts and Sciences, Gifu, in collaboration with the Philadelphia Museum of Art, and made possible in part by The Juroku Bank, Ltd., and Itochu International.