Rinpa
Rinpa has no head family, no school. Ogata Kōrin studied Tawaraya Sōtatsu from about a century after him, admiring him from a distance; Sakai Hōitsu did the same with Kōrin, another century later — a lineage of artists learning from a hero they never met, leaping across time. That conversation once became physical. On the back of a copy Kōrin made of Wind God and Thunder God, Hōitsu painted Summer and Autumn Grasses: summer grass in rain behind the Thunder God, autumn grass in wind behind the Wind God — an answering poem, a hundred years late. For preservation, the two sides are now mounted separately. Even the name Rinpa was given later, in modern times. This is a current that later ages have kept on rediscovering. One more thing worth saying in the context of this map: Rinpa was a lineage of design as much as of painting. Ogata Kōrin was born in 1658, the second son of the Kariganeya, one of Kyoto's leading kimono merchants. The family trade was designing cloth. And the Ogata family was related by marriage to the house of Hon'ami Kōetsu, the man usually placed at the head of the Rinpa line. At the very start of a lineage with no masters and no school, there was a blood tie and a business. Kōrin inherited an enormous fortune from his father at thirty, spent it in a few years, and only then began painting in earnest. When his younger brother Ogata Kenzan opened a kiln at Narutaki in 1699, Kōrin painted the pots. Work that draws no line between a picture and a piece of pottery. And his sense of design produced a phrase — Kōrin moyō, the Kōrin pattern — still used today for motifs on kimono and craftwork. A person's name survives as the name of a pattern. This map keeps saying that style names are given by a later age; here the name itself turned into a design.