Nature, Pleasure, Myth Animals in the Art of Japan Part 4

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.