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 |
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UTAGAWA
KUNISADA |
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歌川国貞 |
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1786-1864 |
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View of the
Spring Rain |
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Harusame no
kei |
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春雨の景 |
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Circa Early
1820s |
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Oban Triptych |
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Signed:
Gototei Kunisada ga
五渡亭国貞画 |
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Publisher:
Eikyudo |
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SOLD!
THANKS! |
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Illustrated:
1. Catalogue of the Van Gogh Museum's Collection of Japanese Prints, by
Charlotte van Rappard-Boon, Willem van Gulik and Keiko van Bremen-Ito,
Waanders Publishers, Zwolle, 1991, cat. #147, pp. 132-34
2. There is another copy of this triptych in the Museum für
angewandte Kunst in Vienna. This is exhibited on-line. |
THE SUBLIMINAL
MESSAGE
AND THEN SOME. |
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A
friend came to
visit recently --- today is December 3, 2003 --- and I was showing him this
triptych and trying to explain why and how it pushed my aesthetic buttons.
He had brought a friend of his along. While talking my friend's friend said
he had a couple of Japanese prints by Hiroshige, but didn't know much about
them. I pulled out my copy of the Van Gogh museum catalogue to show him that
museum's version of this triptych and to look for other examples of images of the ones he
owned. That is when it struck me: Van Gogh had copied a well-known Hiroshige
print which exhibited some of the same elements which so excited me about
this Kunisada.
The question
for me is: What did Hiroshige know and when did he know it? Is the prominent
role played by the plum blossoms in the Kunisada triptych and the Hiroshiges
a coincidence? Or, did Hiroshige know the triptych shown on this page and
was perhaps influenced by it? I am not sure that this is answerable.
Hiroshige purists would probably say "No!" and give a lot of reasonable
arguments against this connection. But I am not that confident and will
leave the issue open.
Below are two
inserted details of prints by Hiroshige so you can judge this for yourself. |
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Both of these examples
are from Hiroshige's series
"One Hundred Famous
Views of Edo" |
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This is a detail of
Hiroshige's "The Plum Garden at Kameido"
Kameido Umeyashiki
亀戸梅屋舗
がめどうめやしき
1857 |
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This is a detail of
Hiroshige's
"The Plum Orchard in
Kamata"
Kamata-no Umezono
蒲田の梅園
かまたのうめぞの
1857 |
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Why is that
woman
playing the
koto
with her foot? |
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One day, a
long time ago, I had a couple visit me. Both very nice. He was more
knowledgeable, but she shared her husband's enthusiasm for Japanese prints.
While showing this triptych to them she asked the question about the
foot. Immediately I reacted: "She is not playing it with her foot." I said
this with a true ring of disdain in my voice. My visitor insisted and
pointed at the spot. That is when I saw it: there is a child in this print
being taught to play. I can't tell you how long I owned this print or
how many times I had looked at it both in person and in books --- oodles I
am sure --- but I had never seen the child within.
Sometimes it
just takes an innocent eye.
If you are
still having problems seeing it. The child is looking down and you are
looking at the top of her partially shaved head, the blue area. (The
Japanese adopted the use of blue to indicate the stubble of a shaved area be
it a man's beard, the kabuki actor's pate or the tonsured head of a Buddhist
monk or nun.) |
KAI AWASE
貝合せ
THE SHELL
MATCHING GAME |
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It is a rainy,
lazy day. The TV and the phone aren't working because they haven't
been invented yet. Not for centuries to come. No fashion magazines, no cars,
no Nintendo.
So, if
you are a refined member of the upper crust seeking diversion you might
perform on a musical instrument, recite poetry or play a game like kai
awase or shell matching.
I wouldn't be
mentioning it on this page were it not for the fact that it appears as a
very subtle element of the dress of the woman in the right-hand panel ---
you know, the one who is teaching the child to play the koto.
Below are
several isolated examples. |
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According
to Saitō Ryōsuke in the Kodansha Encyclopedia of Japan shell matching
was popular among the Heian (平安)
court aristocrats (794-1185). Originally unadorned shells of various
types were mixed together and the player was to find its match. Eventually
plain shells were adorned with lines of poetry and/or pictures. Saitō also
points out that with the decline of the court also came a decline in the
game's popularity, but that kai-awase was a precursor of other games
such as utagaruta (歌留多)
or card matching.[1] What is striking about Saitō's description is its
brevity. Perhaps this was an editorial decision at Kodansha. |
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Mock Joya
provides a lot of supplemental information. Joya stresses the use of
hamaguri (蛤)
as the preferred clams for this game.[2][3] He also cites a reference to
this game by Kenkō (1283-1352)[4] in his Tsurezuregusa (徒然草)
or "Essays in Idleness" from ca. 1329-1333.[5] Joya states that 360 shells
were divided between two groups of players. Half of the shells were placed
face down and were referred to as the jigai (地貝). The other half, the
dashigai (出貝),
were drawn from a container.[6] As a match was made that complete
shell belonged to that participant. "Later, the shells were laquered or
beautifully painted."[7] These evolved into the poem shells or uta-kai
(歌貝).
"The game of kai-awase was played by the upper class women up to the
end of the Tokugawa period."[8] At the end of his entry Joya notes that
during the Kyoho (享保)
era (1716-36) a new custom appeared: hamaguri soup was served at
weddings because each shell had only one corresponding match much, very
romantically, like the bride and groom.[9]
Masahumi Sugai in
Japanese
Tradition in Color & Form: Pastimes states that the changeover from
matching plain shells to ones with poems and/or pictures was a process of
simplification. I suppose that it would be easier to make a match if you
knew your poetry well. Sugai then notes that Ihara Saikaku (井原西鶴)
in his "Tales of Samurai Honor" (武家義理物語)
of 1688 said that the shell matching was a "...game of
refinement..."[10] |
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"As
the bi-valve clam only fits its other half perfectly, it has sexual
connotations and is a symbol of fidelity and true love." A new bride from
the upper classes often received a game set for her dowry.[11] |
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1. "kai-awase", entry by
Saitō Ryōsuke, Kodansha Encyclopedia of Japan, vol. 4, p. 108, 1983.
2. Mock Joya's Things
Japanese, by Mock Joya, The Japan Times, Ltd., 1985, p. 478.
3. Hamaguri shells are
used for the best white go (碁)pieces.
4. Mock Joya refers to this
author as Kenkō Hoshi (兼好法師).
However, if you go searching for him in a library or on the Internet you
might also want to look him up under these alternative names: Urabe
Kaneyoshi (卜部兼倶),
Urabe Kenkō (卜部兼好),
Yoshida Kaneyoshi (吉田兼倶)
or Yoshida Kenkō (吉田兼好).
5. There is a wonderful
description of Kenkō and the "Essays in Idleness" in Seeds in the Heart:
Japanese Literature from the Earliest Times to the Late Sixteenth Century,
by Donald Keene, Henry Holt and Company, New York, pp. 852-67.
6. Playthings and Pastimes in
Japanese Prints, by Lea Baten, Weatherhill, 1995, p. 23.
7. Joya, op. cit.
8. Ibid., this is an interesting
statement which I believe to be true. However, it doesn't jive entirely with
the information provided by Saitō in the Kodansha Encyclopedia of Japan.
9. Ibid.
10. Japanese Tradition in
Color & Form: Pastimes, entry by Masahumi Sugai, Graphic-sha Publishing
Company, Ltd., 1992, p. 10.
11. Baten, op. cit. |
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