Holidays and the Everyday
Throughout East Asia, animals have specific associations with
time, including holidays, the zodiac, and seasons. They feature
prominently in lavishly printed New Year’s cards; they allow
artists to subvert the censorship of the early nineteenth century
in egoyomi, or “picture calendars”; and they become symbols of
celebrations, like the carp on Boys’ Day. Beyond these special
occasions, however, animals also shaped the experience of the
everyday, serving as motifs for useful objects such as netsuke,
inrō, and even bedding. The objects displayed in this section all
show the importance of animals in celebrations and everyday
interaction, serving as gifts, greetings, or even fashion
statements.
Katsushika Hokusai
Japanese, 1760–1849
Wooden Horse (“Mokuba”), from the series “A Set of Horses”
(“Umazukushi”), ca. 1822
Polychrome woodblock print with metallic elements
Gift of William Green
AC 2005.704
This surimono print is part of a series of 30 designs commissioned
by a poetry group in celebration of the year of the horse 1822,
each featuring objects related to horses, such as the saddle and
stirrups seen here. These still-lifes, known as takara-awase, or
“treasure assemblies,” were popular amongst the poetry groups
of Edo, who would hold verse contests related to them, with the
winning poems inscribed on the commemorative print. This
example contains three different poems. Often the winning
poem was denoted by the presence of a small circle above the
name of the victorious poet, as can be seen here at upper-left. Yashima Gakutei
Japanese, 1786–1868
Black Carp, mid-19th century
Polychrome woodblock print with metallic elements
Gift of William Green
AC 1990.27
Gakutei, a student of both Katsushika Hokusai and Totoya Hokkei,
was renowned for his highly technical designs, especiF745ally his
incorporation of metallic inks and embossing. This surimono was
commissioned as part of a pair — the other design features a red
carp — and is typical of his output with its refined details in the
face and scales of the fish, the bokashi (gradient) printing used to
create depth in the background and to impart volume to the carp
itself, and the artful arrangement of calligraphic verse and
stylized seaweed, both of which are printed with metallic ink.
Though now oxidized, these details would have originally
glittered against the dark background, appearing almost as gold
dust. Andō Hiroshige (Utagawa Hiroshige); Sakanaya Eikichi, publisher
Japanese, 1797–1858; Japanese, active ca. 1855–1866
Suidō Bridge and Surugadai (“Suidōbashi surugadai”), no. 48
from the series “One Hundred Famous Views of Edo”
(“Meisho edo hyakkei”), 1857
Polychrome woodblock print
Gift of William Green
AC 1998.38
Hiroshige’s meisho-e, or “famous views,” of Edo, are among the
best known images in the history of Japanese art. This series not
only features various sites of the capital but as it progresses, it
also encapsulates a full year in the metropolois. This design,
number 48 of 100, takes place on Boys’ Day (now known as
Children’s Day), May 5, a fact made clear by the presence of the
koinobori, the carp-shaped flags, which appear to “swim” as they
flap in the breeze and are still used today. Due to their swimming
upstream, carp are symbols of strength and perseverence and so
became associated with the health and vitality of young boys.
Traditionally, families would fly them in different colors, with
black representing the father, red for the mother, and one blue
carp for each masculine child. Totoya Hokkei
Japanese, 1780–1850
White Plum Blossom and Carp, from the series “A Series of
Flower Gardens” (“Hanazono bantsutzuki”), 1823
Polychrome woodblock print with mica dust and embossing
Gift of William Green
AC 1990.39
This print features plum blossoms, a traditional winter flower, and
a wooden bullfinch toy, visible at lower-right, representative of
the usokae, the “bullfinch exchange,” a ceremony that takes place
each January, in which participants swap an old bullfinch toy for
a new one at Shinto shrines. The word for bullfinch, “uso,” is a
homophone for “lies,” so the ritual is meant to shed the
falsehoods of the previous year, exchanging them for truth. If
very lucky, one may receive a golden bullfinch, an auspicious sign
for a prosperous and happy new year. The usokae became very
popular in Edo starting around 1820. Unidentified artist
Japanese, active 19th century
Surimono of Plum Blossoms, Tobacco Pouch, and a Goat
Netsuke, ca. 1800
Polychrome woodblock print
Gift of William Green
AC 2005.296
This print by an unidentified artist is typical of surimono in that it
features very stylized calligraphy and use of primarily grey, rather
than black, ink. It was likely commissioned in celebration of the
year of the goat, as indicated by the presence of the netsuke.
Though this design appears less extravagant than the other
surimono on display here, it is likely that in addition to the
draughtsman, a calligrapher was hired to write the verse, adding
to the expense of the publication.
Nature, Pleasure, Myth Animals in the Art of Japan Part 4
of 5
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