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拍品專文
published:
Azabu Museum of Art, ed., Azabu bijutsukan: Shuzohin zuroku (Azabu Museum of Art: Catalogue of the collection (Tokyo: Azabu Museum of Art, 1986), no. 24.
Azabu Museum of Arts and Crafts, and Japan Institute of Arts and Crafts, eds., Edo no fashon, kaikan kinenten Part I: 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. 10.
Azabu Museum of Art, and Osaka Municipal Museum of Art, eds., Nikuhitsu ukiyo-e meihinten: 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. 10.
Kaneko Fusui, ed., Nikuhitsu ukiyo-e shusei/Ukiyo-e Paintings in Japanese Collections, vol. 2 (Tokyo: Mainichi Shimbunsha, 1977), pl. 66.
Kobayashi Tadashi, Edo no bijinga: Kan'ei, Kanbunki no nikuhitsuga (Edo beauty paintings: Painting of the Kan'ei and Kanbun eras) (Tokyo: Gakken, 1982), pl. 124.
_____, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 12.
Kyoto Imperial Museum, ed., Nikuhitsu ukiyo-e shu (Collection of ukiyo-e painting) (Kyoto: Unsodo, 1935), no. 23.
Nikuhitsu ukiyo-e ten: Shomin geijutsu no hana (Exhibition of ukiyo-e painting: The flower of the arts of the common people), introduction by Yamaguchi Keizaburo, exh. cat. (Chiba: Chiba Prefectural Museum, 1981), no. 4.
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. 17.
This image belongs to the genre of Kanbun bijin, or "beauties of the Kanbun era" (1661-73), a term referring to anonymous paintings of courtesans and occasionally wakashu (elegant young men) produced in the second half of the 17th century (see lots 8, 9, and 13).
The poetic inscription--signed Sute with a cyclical date that accords with Kanbun 11 (1671)--complements the image of a courtesan in slight dishabille with tousled hair:
kanoto no i no toshi ni In the kanoto year of the Boar:
ichiya nete After one night together
ka no tono i-toshi my patron has spurned me
kesa no haru as a spring day dawns.
The haiku puns on the coincidence that the cyclical date kanoto no i-toshi can also be interpreted to suggest that the courtesan's patron (ka no tono) has rejected her with disdain (ito-shi). Early commentaries interpreted the signature Sute as the name of the courtesan. While not impossible, there are no records of a courtesan with this name, and its literal meaning, "Abandon," might not be suitable for a courtesan. Another hypothesis suggests that the name may be linked to the haiku poet known as Sute-jo (1633-1698), who was counted as one of the four great female haiku poets of the late 17th century. Or Sute may simply be the way a courtesan refers to herself after being abandoned by a patron, as in this case.
Azabu Museum of Art, ed., Azabu bijutsukan: Shuzohin zuroku (Azabu Museum of Art: Catalogue of the collection (Tokyo: Azabu Museum of Art, 1986), no. 24.
Azabu Museum of Arts and Crafts, and Japan Institute of Arts and Crafts, eds., Edo no fashon, kaikan kinenten Part I: 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. 10.
Azabu Museum of Art, and Osaka Municipal Museum of Art, eds., Nikuhitsu ukiyo-e meihinten: 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. 10.
Kaneko Fusui, ed., Nikuhitsu ukiyo-e shusei/Ukiyo-e Paintings in Japanese Collections, vol. 2 (Tokyo: Mainichi Shimbunsha, 1977), pl. 66.
Kobayashi Tadashi, Edo no bijinga: Kan'ei, Kanbunki no nikuhitsuga (Edo beauty paintings: Painting of the Kan'ei and Kanbun eras) (Tokyo: Gakken, 1982), pl. 124.
_____, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 12.
Kyoto Imperial Museum, ed., Nikuhitsu ukiyo-e shu (Collection of ukiyo-e painting) (Kyoto: Unsodo, 1935), no. 23.
Nikuhitsu ukiyo-e ten: Shomin geijutsu no hana (Exhibition of ukiyo-e painting: The flower of the arts of the common people), introduction by Yamaguchi Keizaburo, exh. cat. (Chiba: Chiba Prefectural Museum, 1981), no. 4.
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. 17.
This image belongs to the genre of Kanbun bijin, or "beauties of the Kanbun era" (1661-73), a term referring to anonymous paintings of courtesans and occasionally wakashu (elegant young men) produced in the second half of the 17th century (see lots 8, 9, and 13).
The poetic inscription--signed Sute with a cyclical date that accords with Kanbun 11 (1671)--complements the image of a courtesan in slight dishabille with tousled hair:
kanoto no i no toshi ni In the kanoto year of the Boar:
ichiya nete After one night together
ka no tono i-toshi my patron has spurned me
kesa no haru as a spring day dawns.
The haiku puns on the coincidence that the cyclical date kanoto no i-toshi can also be interpreted to suggest that the courtesan's patron (ka no tono) has rejected her with disdain (ito-shi). Early commentaries interpreted the signature Sute as the name of the courtesan. While not impossible, there are no records of a courtesan with this name, and its literal meaning, "Abandon," might not be suitable for a courtesan. Another hypothesis suggests that the name may be linked to the haiku poet known as Sute-jo (1633-1698), who was counted as one of the four great female haiku poets of the late 17th century. Or Sute may simply be the way a courtesan refers to herself after being abandoned by a patron, as in this case.