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It was a monumental two-sided folding-screen painting that symbolized the Rinpa tradition, but it was recently reformatted into two separate pairs of screens in order to protect them from damage. On the backside of the “Thunder God,” Hoitsu painted summer plants revived by a sudden shower and the swollen flow of a river, and he painted on the reverse side of the “Wind God” autumn plants swaying and wild grape leaves blown in a strong wind.\r\n　 Hoitsu (1761–1828) was captivated by Korin's paintings after taking a number of painting styles of different schools. He established the Rinpa tradition in Edo (modern-day Tokyo) and made it flourish there. It is notable that the elegant and refined taste common to poetry, which is another field of art Hoitsu practiced, is dominant in his style, yet a painting technique traditionally adopted by the Rinpa school, called “tarashikomi,” is also used in his depictions of flowering plants imbued with poetic flair. It is worth noting that Hoitsu tried to create a vivid color effect by not shading the motifs in this elegant work of flowering plants painted on the ground of silver leaf. Hoitsu aimed for the natural integration of lyricism and decorative technique. This work can be said to present the high point of his artistic achievement. Both panels bear an inscription that reads \"by Hoitsu\" and a red round seal of \"Bunsen,\" another name of Hoitsu.","@language":"en"},{"@value":"　　此作品是绘制在光琳模仿宗达的《风神雷神图》屏风背面的抱一自己的代表作。此纪念性双面屏风象征性的表现了琳派系谱，应该保护画面使之免受损伤，因此，近年来正面和背面被分离，分别改成了一对独立的屏风。《雷神图》的背面绘有被骤雨（syuu）灌溉恢复生气的夏草、以及水量骤然增加的河流，《风神图》的背面描绘了被强风撼动的秋草以及飞舞的蛇葡萄的红叶。\r\n　　抱一（1761～1828）看遍各派画风，最终倾倒于光琳的绘画，继而让琳派的传统植根于江户之地，开花结果。其作品风格以他擅长的与俳句相通的风雅情趣为主导，他还将琳派传统的“色彩重叠”（绘画手法的一种，涂上一种颜色趁其未干时再滴上另外的色彩，由色彩间的相互渗透形成独特的色彩效果，表现云、树木、岩石等的凹凸感。宗达、光琳派爱用。）手法专门活用在抒情性的花草表现上。此图描绘了银色大地上楚楚可怜的花草，是抱一式的优美作品，同时希望大家注意到他避免了色彩浓淡的变化，力求展现出明快色彩的效果。这幅作品可以说是体现抱一在绘画上所追求的抒情性与装饰性表现达到自然融合境界的一件作品。两扇屏风都有“抱一笔”的落款及“文诠”的红色圆章。\r\n","@language":"zh"},{"@value":"　다와라야 소타쓰의 <풍신뇌신도>를 오가타 고린이 모사하고 그 병풍의 뒷면에 사카이 호이쓰가 자신의 대표작을 그려넣은 것이다. 린파의 계보를 상징하는 이 기념비적인 양면 병풍의 화면이 손상되지 않도록 하기 위해 최근에 앞면와 뒷면을 분리하여 각각 하나의 병풍으로 개조하였다. <뇌신도>의 뒷면에는 소나기로 생기를 되찾은 여름풀과 갑자기 물의 양이 불어난 하천을, <풍신도>에는 강풍에 흔들리는 가을풀과 위로 날아오르는 듯한 가을의 개머루 잎과 열매를 그리고 있다.\r\n　호이쓰(1761~1828)는 모든 파의 화풍을 경험해 본 후 고린의 회화에 경도되어 린파의 전통을 에도에 정착시키고 꽃피우게 하였다. 그러나 그 작풍에서는 그의 장기인 해학적 느낌을 통한 고상한 정취가 지배적이며, 전통적인 린파의 다라시코미(안료를 떨어트려 표현하는 것) 기법은 전적으로 풀과 꽃을 서정적으로 표현하는 데에 쓰이고 있다. 이 그림은 은박을 붙인 화면에 가련한 화초를 그려 호이쓰다운 우아한 아름다움이 돋보이는 작품이다. 또한 색의 농담의 변화를 피하고 명쾌한 색채효과를 노린 점에도 주목할 만하다. 서정성과 장식 표현의 자연스러운 조화를 지향했던 호이쓰 그림의 도달점을 보여주는 작품이라고 할 수 있을 것이다. ‘호이쓰 필’이라는 낙관과 ‘문전(文詮)’이라는 인장이 보인다.","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100321002004/4/thumbnail.jpeg","@type":"dctypes:Image","height":180,"width":200},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural 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