JAPANESE PRINTS
A MILLION QUESTIONS
TWO MILLION MYSTERIES
Ukiyo-e Prints
浮世絵版画
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formerly
Port Townsend, Washington
now Kansas City,
Missouri |
UTAGAWA
TOYOKUNI III |
歌川豊国三代 |
1786-1865 |
Subject: Raigō
Ajari
(releasing the
rats)
頼豪阿闍利
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Actor on the right
is Ichikawa Ichizō III
市川市蔵 |
Actor on the center
panel is Ichikawa Kodanji IV
市川小團次 |
Actors on the left
are to be identified later.
The lower character is
三日月の三五郎. |
Date: 1861
Bunkyū 1
文久1 |
Signed: Toyokuni ga
署名: 豊国画 |
Publisher: Izutsu-ya
Sanemon
版元: 井筒屋三右衛門 |
Carver: Horikō Masu
(?) |
Print Sizes: 13 1/4" x
9 3/4" each |
There is another
copy of this triptych
in the Hankyu Culture
Institute. |
SOLD! |
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THEATER IS THEATER
AND
FACT IS FACT
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Imagine a scene
where Benjamin Disraeli shows up to give advice to Maggie Thatcher or Newton
is seen having a latte with Einstein at a chic coffeehouse. Time and place
are incidental. In the theater everything is possible. That is one of the
luxuries of the playwright and one that was used (abused?) aplenty in the
kabuki theater. Anachronisms abound and no one seems to notice or if they do
no one seems to care. Such is the case of the plays involving Raigō.
In Nue no Mori
Ichiyō no Mato (Forest of the Nue Monster: Target the Eleventh
Month) Raigō has fasted for one hundred days and looks the part. In
this state he meets with Minamoto no Yorimasa who was born twenty years
after the historical Raigō had died. But what the heck, this is the
theater. "Kabuki playwrights...characteristically and enthusiastically
conflated the most disparate events and stories, in order to thicken their
plots or perhaps to provide a showcase role for a particular actor's
talents." (1) Raigō and a follower go to the mansion of Yorimasa to
plead for the construction of an ordination platform. "Yorimasa refuses the
request, and somehow Raigō is made to drink poisoned sake. He dies in
agony and is transformed into a horde of rats. (Here the playwrights are
again weaving accounts of Raigō's death taken from such historical
tales as Heike Monogatari [Enkyō version], which tells how Raigō's
spirit turned into a large rat and ate the Buddhist statues and sutra
scrolls of the rival temple, Enryaku-ji.)" (2) |
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1.
The Actor's Image:
Print Makers of the Katsukawa School, Timothy Clark, Osamu Ueda and
Donald Jenkins, Princeton University Press, 1994, p. 144.
2. Ibid. p. 146. |
WHAT IS RAIGŌ'S STORY?
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Raigō (1004-1084) was
an actually historical figure around whom has been spun a fascinating tale.
A Buddhist monk of the Tendai sect he was attached to the temple of Mii-dera
at Lake Biwa. (1) "Various chronicles relate that by virtue of Raigō's
prayers a son was born to the retired emperor Shirakawa (1053-1129), in
return for which Shirakawa offered to grant the priest any wish. When Raigō
requested the establishment of an ordination platform at Onjō-ji [an
alternate name for the temple at Mii-dera], however, the retired emperor
reneged on his promise, for fear of the armed monks of the rival Tendai
temple Enryaku-ji on Mt. Hiei, who enjoyed a monopoly on ordination. Casting
a curse on Shirakawa, Raigō shut himself in the Buddha Hall of the temple
and began a fast in protest." (2)
John Stevenson
continues the story: "Shirakawa sent conciliatory messages, but Raigo was
implacable and eventually starved himself to death. Prince Atsuhisa [the son
born to Shirakawa] died soon afterwards. Raigo's vengeful spirit changed
into a thousand rats which infested the temple, destroying the Emperor's
sacred books and scrolls and doing untold damage." (3) |
Above is a detail from
a print by Yoshitoshi
showing the spirit of
Raigo still dressed in his
monks robes, but after
he has turned into a giant rat. |
1. For another
example of a print that deals with this same location click here:
Kuronushi.
2. The Actor's
Image: Print Makers of the Katsukawa School, Timothy Clark, Osamu Ueda
and Donald Jenkins, Princeton University Press, 1994, p. 144.
3. Yoshitoshi's
Thirty-Six Ghosts, by John Stevenson, Univ. of Washington Press, 1992,
p. 68. |
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"RATS WERE FORMERLY
WELCOMED...AS SYMBOLS
OF GOOD LUCK."
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There have been
times in my life when I had very lean years and for that reason didn't owe
any taxes. My deductible expenses far exceeded my income. That is why - and
you can call me crazy about this one - I have celebrated those years when
taxes were due. Not that I enjoy paying my taxes - who does? - but I do
relish those times when I know that I have been prospering - at least to
some degree. (I would probably gripe more if I had had to pay them every
year, but alas...)
I am telling you
this because my attitude has its parallels in traditional Japanese
culture. They have been absolutely schizoid when it comes to rats. True rats
are pests and do eat into one's assets, i.e., storehouse stocks, but
considering the number of years the Japanese suffered from horrific famines
there are times when the rat was a welcomed intruder. It meant that one had
had a successful year. You don't see many rats when the larder is bare. |
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The quote at the
top of this section is from Mock Joya's Things Japanese (p. 41) and
the illustration, which was sent to us by our generous contributor E., is
from the Ehon Shuyo from 1751. Mock Joya noted that "In many
districts, the people rejoiced when rats gnawed the New Year's
kagami-mochi or rice cakes, as it was a sign of foretelling good
harvests and prosperity during the year." Or, if a rat ate part of an
offering made to a family shrine it indicated that the kami or god
had accepted the gift.
Daikoku, the god of
wealth and good fortune, is often shown accompanied by rats - ergo, rats
come with good luck. |
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WHAT ARE YOU?
A MAN OR A RAT? |
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Look carefully at
the rat in the print above. It isn't a rat at all. It is a man in a rat
costume playing a rat's role in a kabuki play. It even has a meshed, netted
area at the neck for ventilation. The man who is about to clobber the rat is
the actor Ichikawa Danjurō VII in the role of Arajishi Otokonosuke. I love
this print by Kuniyoshi. I should. I sold it to a friend of mine, Mike, a
number of years ago and he was kind enough to send me an image of it so I
could post it here.
Funny thing is that
the other day I was rapidly switching channels on my television when I ran
across a scene from "Sex in the City" - a program I do not watch. A
red-headed, female lawyer was walking down the street and passed in front of
a tall man dressed head to toe in the costume of a sandwich. Baloney, you
say! I don't know. Baloney, salami...who knows? Anyway, the sandwich was
handing out flyers advertising the shop immediately behind him. He and the
lawyer had an encounter - a verbal encounter. I found it humorous, but that
is another story. What strikes me as absolutely remarkable is the
coincidence, i.e., the confluence in my life of seeing two grown men dressed
as things which they are not: One a rat; one a sandwich. Clearly there is
not much difference between kabuki and modern American theater. |
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Just so you don't
think that men in Japan only dressed up in rat suits I have added a detail
from a Kitao Masanobu (1761-1816 北尾政演 or きたおまさのぶ) print seen above. This
image was created to accompany a 'crazy verse' or kyōka and represents "The
Poet Tsuburi no Hikaru" in the ehon Temmei shinsen gojūnin isshu: Azuma-buri
kyōka bunko (天明新鐫五十人一首:吾妻曲狂歌文庫) or "Newly Block-cut in Temmei: A Poet of
Each of Fifty Poets: A Bookcase of Edo Kyōka". |
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RAT WORDS...
errrrr....I Mean
MOUSE WORDS...
errrrr....I Mean
VOLE WORDS!
鼠 |
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Language -
especially words - fascinates me. Not that I am particularly good at it, but
that doesn't slow me down much. That is why, for example, the Japanese word
for rat, nezumi (鼠 or ねずみ), is particularly interesting. Not only
does it mean rat, but also mouse and vole. In its simplest form there is no
distinction. Nezumi can mean any of the three. "In Japanese,
nezumi is the general term for the animals of the order Rodentia,
suborder Myomopha. There are no words corresponding to the English 'mouse,'
'rat,' and 'vole,' all of which are called nezumi. The distinction
which is most commonly made is by their habitats: ienezumi
inhabit...houses and nonezumi inhabit natural environments..." These
groupings are divided into smaller categories, but none of these correspond
exactly to the Western classifications.
Then there are the
odd combinations of nezumi with other kanji characters which denote
other creatures, objects and concepts. |
Squirrel: 木鼠 kinezumi |
Chipmunk: 縞栗鼠
shimarisu |
Shrew: 地鼠 jinezumi |
Muskrat: 麝香鼠
jakōnezumi |
Guinea pig: 天竺鼠
tenjikunezumi |
Sea cucumber or slug:
海鼠 namako |
Porpoise: 鼠海豚
nezumiiruka |
Opossum: 袋鼠
fukuronezumi |
Porcupine or hedgehog:
針鼠 harinezumi |
Gopher: 堀り鼠 horinezumi |
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Plague: 鼠疫 soeki |
Groin: 鼠蹊 sokei |
Petty thief: 鼠賊 sozoku |
Pilfer: 鼠盗 sotō |
Unimportant people: 鼠輩
sohai |
Soaked to the skin:
濡れ鼠 nurenezumi |
Corrugated iron:
海鼠板 namakoita |
Pyramid scheme: 鼠講
nezumikō |
Proliferation: 鼠算
nezumisan |
Pinwheel: 鼠花火
nezumihanabi |
Light shower:
鼠の嫁入り nezuminoyomeiri |
Prostitute whistling
for customers:
鼠鳴き nezuminaki |
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"YOU DIRTY RAT"
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Years ago I sold a
print called "The Rat-catcher" by Cornelis Visscher (1628/9-58).* Above is a
slightly cropped reproduction from a photo.
Obviously it is not everyone's cup of tea, but for a connoisseur of
etchings and engravings it is a masterpiece. Technique aside it
remains one of those very strange and unexpected oddities which seldom
appear in the European art world. Surely there are many times more
images of rats in Japanese art. I can think of quite a few while I am
writing this. However, that does not mean that rats haven't played a rather
significant role in the psyches of Western artists.
William Shakespeare
mentions rats in several of his plays: Shylock speaks of them; the First
Witch refers to a "rat without a tale"; Lear mentions them as does Prospero.
They even show up in such diverse plays as "Romeo and Juliet" and "The Merry
Wives of Windsor". But it is a line for Hamlet that may be the most
poignant. Hamlet realizes that there is someone behind the drapery in his
mother's room. He believes it is his uncle Claudius, but it isn't. It is
Polonius. Right before Hamlet thrusts his blade through the arras he says:
"How now? A rat? Dead
for a ducat, dead!"
Many other European
and American authors have mentioned rats: Chaucer, Jean de la
Fontaine, Tolstoy, Poe, Bram Stoker, Hawthorne, Voltaire, Hugo and Twain -
and these are only a few. But two authors in particular come to my mind: Orwell and
Browning. Browning sets the stage at the very beginning of "The Pied Piper".
Rats!
They fought the dogs and killed the cats,
And bit the babies in the cradles,
And ate the cheeses out of the vats,
And licked the soup from the cooks' own ladles...
Personally the most
frightening reference to rats occurs in George Orwell's 1984.
Currently I am reading his Homage to Catalonia which is a factual
account of the time he spent in Spain fighting against the fascists in the late 1930s. Several times Orwell mentions rats and once
he even states that they are the single thing he most detests. "The filthy
brutes came swarming out of the ground on every side. If there is one thing
I hate more than another it is a rat running over me in the darkness." It
was that quote that helped me to a better understanding of Winston in 1984. Orwell
was writing about himself. Toward
the end of that great novel O'Brien, the interrogator, is going to break Winston's
spirit with the one
thing he knows he fears the most - rats! He places a cage with rats before
him. Winston suddenly realizes its purpose. "...at this moment the
meaning of the mask-like attachment in front of it suddenly sank into him.
His bowels seemed to turn to water." I don't share Orwell's
visceral fear of these animals, but I understand the point. Each of us has
our Achilles heel and rats were his.
Rats appear in many
other contexts within Western culture. Millard Meiss wrote about the sea-change
in European society following the horrific events of the Black Death of
1348/9. And rats in one form or another have entered our collective
consciousness through 20th century cinema.
Considering the
attention given to rats in the West it does not seem at all surprising that
quite a few Japanese artist have also dealt with this subject. Perhaps even
the triptych featured on this page will seem a little less exotic by
comparison now.
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*Note that the
dates of Cornelis Visscher's life are all over the place. Try looking them
up. You'll see. Not only that, but some institutions refer to him as de
Visscher. I will get back to you if the art historians ever sort this one
out. |
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