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拍品專文
published:
Azabu Museum of Art, and Osaka Municipal Museum of Art, eds., Nikuhitsu ukiyo-e meihin ten: Azabu bijutsukan shozo/Ukiyo-e Painting Masterpieces in the Collection of the Azabu Museum of Art, introduction by Kobayashi Tadashi, exh. cat. (Tokyo: Azabu Museum of Art; Osaka: Osaka Municipal Museum of Art, 1988), pl. 9.
Azabu Museum of Arts and Crafts, and Japan Institute of Arts and Crafts, eds., Edo no fashon, kaikan kinen ten, Part 1: Nikuhitsu ukiyo-e ni miru onnatachi no yosooi/"Fashion of Edo": Women's dress in Ukiyo-e Paintings, exh. cat. (Tokyo: Azabu Museum of Arts and Crafts, 1989), pl. 9.
Dale Carolyn Gluckman, and Sharon Sadako Takeda, When Art Became Fashion: Kosode in Edo-period Japan, exh. cat. (New York and Tokyo: Weatherhill; Los Angeles: Los Angeles County Museum of Art, 1992), cat. no. 182, color pl. p. 226.
Kobayashi Tadashi, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 11.
Nagasak Iwao, "Nikuhitsu ukiyo-e fukushoku byosha ni tsuite" (About the fashion of ukiyo-e paintings), in Tokyo kokuritsu hakubutsukan II (Tokyo National Museum II), vol. 2 of Nikuhitsu ukiyo-e taikan, edited by Kobayashi Tadashi (Tokyo: Kodansha, 1995), pl. 2--1, p. 206.
Okudaira Shunroku, "Ensaki no bijin" (Beauty on a veranda), in Nihon kaigashi no kenkyu (Research on the history of Japanese painting), edited by Yamane Yuzo sensei koki kinenkai (Tokyo: Yoshikawa Kobunkan, 1989), no. 15.
Recent research suggests that the middle figure dressed in male costume with a courtier's hat and sword at hip may be a wakashu (elegant young man) performing a "Narihira" dance, rather than a female shirabyoshi dancer who would be similarly attired. If this assumption is correct, then the figures flanking the central dancer on either side must likewise represent wakashu, dressed in feminine garb.
The "Narihira" dance derives its name from Ariwara no Narihira, a courtier-poet of the 9th century, who is commonly identified with the unnamed protagonist of the Tales of Ise. The figure on the right wears an outer robe (uchikake) adorned with painted shell motifs illustrating scenes from the Tales of Ise, reaffirming the link to the "Narihira" dance theme and evoking one of the great classical romances. The uchikake donned by the figure on the left is sumptuously decorated with kanoko (minute tie-dyed) patterns and inscribed with the characters yanagi and kaze--willow and wind, respectively, traditional metaphors of a courtesan and male patron.
The inscription is a poem by the early-medieval poet and political figure Fujiwara (Gokyogoku) Yoshitsune (1169-1206). Originally included in the love poem section of Shinshoku kokin wakashu (New Edition of Poems Ancient and Modern) compiled in 1433, it reads:
Tare to naku Whoever comes,
yosete wa kaeru will return home
nami makura on the drifting boat
ukitaru fune no where we have slept,
ato mo todomezu leaving nothing in the wake.
Why classical verse is used here is not exactly clear, but the opening line, with its suggestion that one does not know who his or her next lover will be, is a refrain found in poems by courtesans through the ages. This suggests that the calligrapher might have been a male or female courtesan -- or the artist himself posing as one.
Azabu Museum of Art, and Osaka Municipal Museum of Art, eds., Nikuhitsu ukiyo-e meihin ten: Azabu bijutsukan shozo/Ukiyo-e Painting Masterpieces in the Collection of the Azabu Museum of Art, introduction by Kobayashi Tadashi, exh. cat. (Tokyo: Azabu Museum of Art; Osaka: Osaka Municipal Museum of Art, 1988), pl. 9.
Azabu Museum of Arts and Crafts, and Japan Institute of Arts and Crafts, eds., Edo no fashon, kaikan kinen ten, Part 1: Nikuhitsu ukiyo-e ni miru onnatachi no yosooi/"Fashion of Edo": Women's dress in Ukiyo-e Paintings, exh. cat. (Tokyo: Azabu Museum of Arts and Crafts, 1989), pl. 9.
Dale Carolyn Gluckman, and Sharon Sadako Takeda, When Art Became Fashion: Kosode in Edo-period Japan, exh. cat. (New York and Tokyo: Weatherhill; Los Angeles: Los Angeles County Museum of Art, 1992), cat. no. 182, color pl. p. 226.
Kobayashi Tadashi, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 11.
Nagasak Iwao, "Nikuhitsu ukiyo-e fukushoku byosha ni tsuite" (About the fashion of ukiyo-e paintings), in Tokyo kokuritsu hakubutsukan II (Tokyo National Museum II), vol. 2 of Nikuhitsu ukiyo-e taikan, edited by Kobayashi Tadashi (Tokyo: Kodansha, 1995), pl. 2--1, p. 206.
Okudaira Shunroku, "Ensaki no bijin" (Beauty on a veranda), in Nihon kaigashi no kenkyu (Research on the history of Japanese painting), edited by Yamane Yuzo sensei koki kinenkai (Tokyo: Yoshikawa Kobunkan, 1989), no. 15.
Recent research suggests that the middle figure dressed in male costume with a courtier's hat and sword at hip may be a wakashu (elegant young man) performing a "Narihira" dance, rather than a female shirabyoshi dancer who would be similarly attired. If this assumption is correct, then the figures flanking the central dancer on either side must likewise represent wakashu, dressed in feminine garb.
The "Narihira" dance derives its name from Ariwara no Narihira, a courtier-poet of the 9th century, who is commonly identified with the unnamed protagonist of the Tales of Ise. The figure on the right wears an outer robe (uchikake) adorned with painted shell motifs illustrating scenes from the Tales of Ise, reaffirming the link to the "Narihira" dance theme and evoking one of the great classical romances. The uchikake donned by the figure on the left is sumptuously decorated with kanoko (minute tie-dyed) patterns and inscribed with the characters yanagi and kaze--willow and wind, respectively, traditional metaphors of a courtesan and male patron.
The inscription is a poem by the early-medieval poet and political figure Fujiwara (Gokyogoku) Yoshitsune (1169-1206). Originally included in the love poem section of Shinshoku kokin wakashu (New Edition of Poems Ancient and Modern) compiled in 1433, it reads:
Tare to naku Whoever comes,
yosete wa kaeru will return home
nami makura on the drifting boat
ukitaru fune no where we have slept,
ato mo todomezu leaving nothing in the wake.
Why classical verse is used here is not exactly clear, but the opening line, with its suggestion that one does not know who his or her next lover will be, is a refrain found in poems by courtesans through the ages. This suggests that the calligrapher might have been a male or female courtesan -- or the artist himself posing as one.