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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. 11.
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. 11.
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. 185, color pl. p. 221.
Inagaki Shin'ichi, ed., Zusetsu ukiyo-e nyumon (Illustrated ukiyo-e primer) (Tokyo: Kawade Shobo Shinsha, 1990), color pl. p. 15.
Kobayashi Tadashi, Ukiyo-e no miryoku: Edo no shomin bunka (The charm of ukiyo-e: Edo popular culture) (Tokyo: Bijinesu Kyoiku Shuppansha, 1992), p. 187.
_____, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 14.
Nakau Ei, ed., Ukiyo-e hyakunin hyakushu (Ukiyo-e--one hundred people, one hundred minds) (Tokyo: Sojusha Bijutsu Shuppan, 1984), color pl. p. 9 and black and white illustr. p. 39.
Narazaki Muneshige, Moronobu, vol. 2 of Nikuhitsu ukiyo-e, edited by Narazaki Muneshige (Tokyo: Shueisha, 1982), no. 65.
Suntory Museum of Art, ed., Hishikawa Moronobu ten: 300nen kinen ukiyo-e tanjo (Exhibition of Hishikawa Moronobu: 300-year anniversary of the birth of ukiyo-e), introduction by Kobayashi Tadashi, exh. cat. (Tokyo: Suntory Museum of Art, 1994), ref. no. A.
One of the most influential figures in Japanese art, Hishikawa Moronobu wove together loose strands of traditional academic (Kano and Tosa school) painting to devise his own vision of the up-and-coming townspeople's culture. He thus earned a place at the beginning of the "official" lineage of ukiyo-e artists. In addition to painting the usual range of genre scenes (a theme lingering from late Momoyama), Moronobu set the iconography that became standard for representing the Yoshiwara (lots 14 and 20) and kabuki realms. The versatile Moronobu and his workshop painted polychrome screens and hanging scrolls; he designed some 150 printed books and albums as well, and also produced numerous single-sheet prints.
Courtesan represents a figure-style and pose that Moronobu pioneered. The woman looks as if she had been excerpted from any one of a number of small figures in lot 20 mincing coquettishly along with bent knees and tiny steps. Here she is isolated from the distraction of her surroundings and blown up in an almost iconic manner, reminiscent of Buddhist paintings of Kichijoten, the opulently-clad Goddess of Wealth and Beauty. Adding religious nuance are the hand and toe gestures, reminiscent of the mudras seen in Buddhist iconography (the raised toe of the fierce deity Fudo, for example, signifies passion). The meticulous depiction of the woman's magnificent garment reminds us that Moronobu came from a family of textile artisans. Many techniques used in the elaborate decoration of luxury fabrics are painstakingly represented: specific kinds of embroidery stitches ("satin stich," "float stich," "outline stitch"), the tie-dye technique of shibori (which produces small, raised dapples), and the application of figural scenes with brush and ink which demands virtuosity on the part of the textile producers. Even the figured twill material of the stiff silk sash has been rendered accurately. The clam shells refer to the ancient shell-matching game; some of them are decorated with motifs from the Tale of Genji, investing this prostitute with the aura of the imperial court. Her tiny features and pear-shaped face show Moronobu's indebtedness to the school of Iwasa Matabei (lot 1).
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. 11.
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. 11.
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. 185, color pl. p. 221.
Inagaki Shin'ichi, ed., Zusetsu ukiyo-e nyumon (Illustrated ukiyo-e primer) (Tokyo: Kawade Shobo Shinsha, 1990), color pl. p. 15.
Kobayashi Tadashi, Ukiyo-e no miryoku: Edo no shomin bunka (The charm of ukiyo-e: Edo popular culture) (Tokyo: Bijinesu Kyoiku Shuppansha, 1992), p. 187.
_____, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 14.
Nakau Ei, ed., Ukiyo-e hyakunin hyakushu (Ukiyo-e--one hundred people, one hundred minds) (Tokyo: Sojusha Bijutsu Shuppan, 1984), color pl. p. 9 and black and white illustr. p. 39.
Narazaki Muneshige, Moronobu, vol. 2 of Nikuhitsu ukiyo-e, edited by Narazaki Muneshige (Tokyo: Shueisha, 1982), no. 65.
Suntory Museum of Art, ed., Hishikawa Moronobu ten: 300nen kinen ukiyo-e tanjo (Exhibition of Hishikawa Moronobu: 300-year anniversary of the birth of ukiyo-e), introduction by Kobayashi Tadashi, exh. cat. (Tokyo: Suntory Museum of Art, 1994), ref. no. A.
One of the most influential figures in Japanese art, Hishikawa Moronobu wove together loose strands of traditional academic (Kano and Tosa school) painting to devise his own vision of the up-and-coming townspeople's culture. He thus earned a place at the beginning of the "official" lineage of ukiyo-e artists. In addition to painting the usual range of genre scenes (a theme lingering from late Momoyama), Moronobu set the iconography that became standard for representing the Yoshiwara (lots 14 and 20) and kabuki realms. The versatile Moronobu and his workshop painted polychrome screens and hanging scrolls; he designed some 150 printed books and albums as well, and also produced numerous single-sheet prints.
Courtesan represents a figure-style and pose that Moronobu pioneered. The woman looks as if she had been excerpted from any one of a number of small figures in lot 20 mincing coquettishly along with bent knees and tiny steps. Here she is isolated from the distraction of her surroundings and blown up in an almost iconic manner, reminiscent of Buddhist paintings of Kichijoten, the opulently-clad Goddess of Wealth and Beauty. Adding religious nuance are the hand and toe gestures, reminiscent of the mudras seen in Buddhist iconography (the raised toe of the fierce deity Fudo, for example, signifies passion). The meticulous depiction of the woman's magnificent garment reminds us that Moronobu came from a family of textile artisans. Many techniques used in the elaborate decoration of luxury fabrics are painstakingly represented: specific kinds of embroidery stitches ("satin stich," "float stich," "outline stitch"), the tie-dye technique of shibori (which produces small, raised dapples), and the application of figural scenes with brush and ink which demands virtuosity on the part of the textile producers. Even the figured twill material of the stiff silk sash has been rendered accurately. The clam shells refer to the ancient shell-matching game; some of them are decorated with motifs from the Tale of Genji, investing this prostitute with the aura of the imperial court. Her tiny features and pear-shaped face show Moronobu's indebtedness to the school of Iwasa Matabei (lot 1).