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Lot Essay
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. 33.
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. 32
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. 196, color pl. p. 322.
Kobayashi Tadashi, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 35.
Yoshida Teruji et al., eds., Hanga soshi jidai 1 (The formative period of ukiyo-e 1), vol. 2 of Ukiyo-e taisei (Tokyo: Toho Shoin, 1931), pl. 4.
A grand janome (snake's eye) umbrella held by a male servant crowns a courtesan and her two kamuro (child assistants) parading with a bordello client wearing a black zukin cloth hood. The 17-syllable haiku, signed "Koinaga," refers to the willow standing at the gate of the Shimabara pleasure quarter in Kyoto:
yuki no te o Fingers of snow
nigiru deguchi no clutch at the willow
yanagi kana near the bordello's exit.
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. 33.
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. 32
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. 196, color pl. p. 322.
Kobayashi Tadashi, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 35.
Yoshida Teruji et al., eds., Hanga soshi jidai 1 (The formative period of ukiyo-e 1), vol. 2 of Ukiyo-e taisei (Tokyo: Toho Shoin, 1931), pl. 4.
A grand janome (snake's eye) umbrella held by a male servant crowns a courtesan and her two kamuro (child assistants) parading with a bordello client wearing a black zukin cloth hood. The 17-syllable haiku, signed "Koinaga," refers to the willow standing at the gate of the Shimabara pleasure quarter in Kyoto:
yuki no te o Fingers of snow
nigiru deguchi no clutch at the willow
yanagi kana near the bordello's exit.