Fan print with two bugaku dancers

Source: Wikipedia, the free encyclopedia.
Fan Print with two Bugaku Dancers
Fan Print with two Bugaku Dancers, Utagawa Kunisada (Toyokuni III)
ArtistUtagawa Kunisada (Toyokuni III)
Yearmid 1820s - 1844
Typeukiyo-e woodblock print
Conditionnot on display
LocationRoyal Ontario Museum, Toronto
OwnerRoyal Ontario Museum
Accession926.18.1015

Fan print with two bugaku dancers is an ukiyo-e woodblock print dating to sometime between the mid 1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the uchiwa-e (fan print) and aizuri-e (monochromatic blue print) genres. It is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.

Uchiwa-e

Uchiwa (団扇) are non-folding, flat, oval fans. They are still used today for cooling rice in the preparation of sushi, in dance performances, and as a cooling tool. Historically, uchiwa were a predominantly female accessory, men typically carrying folding fans known as ōgi (扇), suehiro (末広) or sensu (扇子).[1][2] They are associated with summer, traditionally having been sold only during the summer months, and decorated with summer imagery.[1] At least one modern critic argues that, due to their use by women during periods of heat, uchiwa "can have suggestive connotations."[3]

Like ōgi-e (扇絵) folding fan prints, uchiwa-e were traditionally made from washi rice paper mounted on a wooden frame. Images were printed on paper, then cut along the margins and pasted onto a skeletal bamboo frame.[4][5] As a result of their frequent handling, few pristine mounted examples remain.[6]

Aizuri-e

Also known as aizome-e (藍染絵) and ai-e (藍絵), aizuri-e (藍摺絵) translates literally as "blue printed picture," and describes prints that are produced entirely or predominantly in shades of blue.[4][7] A counterpart to ostensibly red and pink benizuri-e (紅摺絵),[4] aizuri-e were a late Edo period development. Perhaps due to the fact that single colour prints were cheaper to produce,[8] the aizuri technique was particularly popular for uchiwa-e.[6]

In the past, some art historians theorized that aizuri-e arose as a result of an 1841 government ban on the use of lavish colour in the then-dominant nishiki-e (錦絵), multi-coloured woodblock prints. The existence of a number of prominent examples predating the ban, however, suggests that aizuri-e did not simply come about as an alternative to poly-chromatic images.[8] While the earliest recorded use is in an 1829 print by Eisen,[6] Utagawa Sadahide, Hokusai,[9] Hiroshige,[10] Toyokuni II[11] and Kunisada all produced notable examples.

The increased popularity of aizuri-e is directly linked to the 1829 importation of the first synthetic colouring agent to Japan.[6] Known in the west as Prussian Blue, Berlin Blue, or bero (ベロ) as it came to be known, effectively challenged natural indigo as an ukiyo-e mainstay due to its lower price and decreased susceptibility to fading from light exposure.[6] Aizuri has been described by one critic as having "revolutionized landscape prints."[6]

Bokashi

Given the lack of colour contrast in the monochromatic aizuri-e, late Edo artists began to experiment with techniques to increase image complexity.[5] This led to the development of bokashi, a printing technique which allowed for the reproduction and mixing of differing colour tones within a single image.[6] This is achieved through carefully graded applications of water and pigment mixtures to the woodblock with a hake brush.[12] The result is a single-coloured print characterised by shading and tonality. It was practiced most effectively in the rendering of skies and water.[13] While aizuri-e themselves were inexpensive to print, bokashi was costly. It is therefore generally seen in formal prints, and not regularly seen in cheaper media such as uchiwa-e.[14] Kunisada has, however, used the technique on this fan print, most notably in the cloud and ground regions, where the value of the blue pigment deepens from very pale blue to near-black opacity.

Detail of two dancing figures

Utagawa Kunisada

Biography

Utagawa Kunisada (歌川国貞) was born in 1786 in the Honjō district of Edo (present-day Tokyo) into a wealthy family of ferry service owners.[15] He began an apprenticeship with the head of the prestigious Utagawa school of artists, Toyokuni I, in 1807, and took the artist name Kunisada to include the second character (国 - kuni) of his mentor's name.[16] In 1844, Kunisada succeeded his master as Toyokuni III (三代歌川豊国).[17][18]

Kunisada emerged as a book illustrator in 1807 with the series "Twelve Hours of the Courtesans" (Keisei jūnitoki).[15] Kuchi-e book illustrations were essential to the success of the then popular sharebon and kibyōshi books, and this soon became a lucrative market for Kunisada due to his talent and ambition.[16] His position within the Utagawa studio afforded him access to training from the finest masters, and connections to publishers, actors, theatres and poet's associations. This, in turn, led to many commissions.[16] By the early 1810s, he had opened his own studio, and demand for his illustrations had outstripped that for his master's.[15] His great success was also reputedly linked to his "convivial and balanced demeanor, and [the fact that] he delivered his commissions on time."[16]

Kunisada was "without a doubt... the most prolific and successful print artist of all time."[15] He was incredibly prodigious, creating between 35 and 40 thousand designs for individual ukiyo-e prints during his lifetime.[17] His studio was larger than that of any other print artist, and he had a large stable of several dozen students.[15][19] As a further indication of his unprecedented success, when he died in 1865 after having headed the Utagawa school for around 40 years, he was the subject of four separate shini-e memorial portraits. He is buried on the grounds of Banshōin Kōunji Temple in present-day Nakano ward, Tokyo, alongside Toyokuni I (1769–1825) and Kunisada II (1823–1880).[15]

Names

Like many artists of the Edo period, Kunisada was associated with a number of names throughout his lifetime.[15][20]

Personal names

  • Tsunoda Shōgorō IX (角田庄五朗) -official birth name[21]
  • Tsunoda Shōzō (角田庄蔵)-- common name from birth
  • Yanagishima Toyokuni (柳島豊国)-- adult nickname related to area of residence
  • Houkuin Teishougasen Shinji-- posthumous Buddhist name

Professional names

  • Utagawa (歌川) - art surname
  • Kunisada (国貞) - artist name (1807-1843)
  • Toyokuni III (三代目豊国) - artist name (1844-1865)
  • Hanabusa Ittai (英一珪) - painting artist name (1820s-1858)
  • Gototei (五渡亭) - gō art name (1811-1845)
  • Gepparō (月波楼) - gō (c.1811-1813)
  • Ichiyūsai (一雄斎) - gō (1811-1817)
  • Kinraisha (琴雷舎) - gō (1813-c.1817)
  • Oukamuse - gō (c.1821-1822)
  • Kōchōrō (香蝶楼) - gō (1824-1861)
  • Tōjuen - gō (1827-1830)
  • Bukiyō Matahei (不器用又平) - shunga gō (1830s)
  • Ichiyōsai (一陽斎) - gō (1844-1861)
  • Hokubaiko (北梅戸) - gō (c.1845)
  • Kokuteisha Toyokuni (国貞舎豊国) - gō (1847-1851)
  • Fuchōan (富眺庵) - gō (c.1853-58)
  • Fuchōsanjin (富眺山人) - gō (dates unknown)
  • Hinashi/ Hinaji Toyokuni (雛獅豊国) - gō (1858-1859)

Works

Although Kunisada designed many surimono and fan pictures, most of his works are in the ōban format.[22] He also produced over sixty paintings.[15]

Given his incredible output, it is not surprising that Kunisada was active in various genres, including kabuki-e and yakusha-e (kabuki actor pictures), bijin-ga (pictures of beauties), yūrei-zu (ghost pictures), sumō-e (sumo wrestler pictures), shunga (erotica), musha-e (warrior prints), and uchiwa-e. He is also credited with popularizing Genji-e, a print genre related to the 11th century novel The Tale of Genji, through his 1829-1842 book series, Nise Murasaki inaka Genji (A Country Genji by a Fake Murasaki).[23] In 1808, he began creating yakusha-e, and these were to become the mainstay of his production, making up 60 to 70% of his total works.[15] So prolific was he, that he came to be known as "Kunisada, the Portraitist of Actors (yakusha-e no Kunisada)."[16]

Two popular genres which are under-represented in Kunisada's oeuvre are nature images (kachō-e/ 花鳥絵) and landscapes (fūkei-e/ 風景絵). He rarely designed pure landscapes, but began in the 1820s or 1830s to incorporate landscape elements into prints featuring beautiful women and actors.[24] "Fan Print with two Bugaku Dancers" with its spare background landscape, is an example of this type of piece.

Reputation

Despite his success during his own period, Kunisada was not highly regarded in the west until quite recently.[25] Critics today consider Kunisada to have been "a trendsetter... in tune with the tastes of urban society,"[17] and credit him with a "more humanized" style than his contemporaries,[26] and with bringing a sense of realism to ukiyo-e, particularly in his depiction of the female form.[27] Many argue, however, that the quality of Kunisada's later works degraded into "gaudy and ostentatious" use of colour,[28] and "lost... elegance in the human figure".[29] Ukiyo-e specialist Rupert Faulkner is particularly scathing, asserting that Kunisada's work "became noticeably coarser and somewhat clumsy, revealing a cheap and gaudy caricaturism of grotesque facial expressions and exaggerated poses."[30] It has been suggested that his production generally suffered "because of over-production and lowering of artistic standards,"[31] as well as possible mental or physical health issues, which led to Kunisada becoming a near-recluse in 1847.[29] As art historian J. Hillier notes, "Kunisada's career tells the tragedy of the downfall of ukiyo-e. With evident talent and tremendous verve, his early prints have qualities that link him with the great days of the school, but the great mass of his prints are hastily designed, over-coloured and badly printed."[32]

Fan Print

Image

The scene depicted on the fan is of two male bugaku dancers in full ceremonial costume, who appear to be performing a dance in lock-step with no audience in evidence. Bugaku, made up of the characters for 'dance' (舞-bu) and 'music' or 'entertainment' (楽-gaku), joined Japanese culture from China, Korea, India and Southeast Asia in the late 8th century, as a form of dance performed at the imperial court, as well as at temples and shrines.[33] Dancers assume stylized hand, arm and foot poses accompanied by drumming and the world's oldest surviving orchestral music, gagaku.[34] Bugaku is often performed by dancers wearing masks to represent fictional characters, though not in Kunisada's print. There are four bugaku genres: civil, warrior, children's, and running dances.[33] The figures here appear to be performing the latter.

From the late 1820s, Kunisada began studying painting under Hanabusa Ikkei (英一珪), master of the Itchō school.[23] The art-name appearing on this print, "Kōchōrō" (香蝶楼), borrows characters from his teacher's pseudonym (Shinkō) and from the name of the school's founder, Hanabusa Itchō (英一蝶).[35] Both of these artists painted bugaku scenes prior to "Fan Print with two Bugaku Dancers," which are very different in style from Kunisada's image.[36]

Signature

The print is signed near the right edge of the fan. It reads vertically from right to left and top to bottom as follows:

  • Line 1: Ōju (応需) - a prefix meaning "by special request," suggesting it may have been commissioned
  • Line 2: Kōchōrō (香蝶楼) - an art-name (gō) used 1825-1861,ref>These dates are from Marks (2010, 120). Lane asserts Kunisada began using this name in 1833 (1978, 295), while the Japan Arts Council website dates its use to 1827-1851. mainly on non-actor prints.[35]
  • Line 3: Kunisada ga (国貞画) - artist name used 1807-1843, followed by 'picture' (i.e. 'by Kunisada')
  • End of line 3: double circular toshidama-in (年玉印) seal

Toshidama

The double circle mark below Kunisada's signature is a toshidama-in, the distinctive seal used by all generations of the Utagawa school after Toyokuni I first adopted it, for reasons unknown, in 1808 or 1809.[37] It is a lucky symbol, referencing gifts of coins given to children at New Year's.[37] Kunisada gave the mark his own unique twist, elongating it and making it a yellow frame with red infill containing his signature. From 1850, he used this cartouche-style almost exclusively.[37]

Title and signature

Date

The ROM dates the print to sometime between the mid-1820s and 1844; however, there are indications that the date can be narrowed to between 1830 and 1843. Synthetic blue pigment was not introduced to Japan until 1829, and it is unlikely that expensive natural indigo would be used on a medium as cheap as uchiwa-e. Kunisada's signature is flanked by two circular toshidama-in seals rather than appearing within an oblong, stylized toshidama cartouche. This suggests the print belongs to his early career.

Provenance

The print was donated to the ROM by Sir Edmund Walker (1848–1924), who was the long-time president of the Canadian Bank of Commerce, and served as the first Chairman of the Board of Trustees for the ROM.[38] Walker began collecting Japanese art in the 1870s, making him one of the earliest collectors in North America. He bought many of his pieces in New York between 1873–1875 and 1881–1886, and during a trip to London in 1909.[39] In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.[40]

Print details

  • Size: ōban
  • Format: uchiwa-e
  • Title: none indicated
  • Subject: 2 male bugaku dancers performing in a landscape defined by two trees
  • Signature: 応需 / 香蝶楼 / 国貞画 (ōju / Kōchōrō / Kunisada ga)
  • Seal: double toshidama-in
  • Publisher: none indicated
  • Censor seals: none
  • Date seal: none
  • Genre: uchiwa-e, aizuri-e
  • Condition: 4 circular holes on right edge of paper suggesting previous inclusion in a book; some minor creases and stains
  • Provenance: Sir Edmund Walker Collection

See also

References

  • Bell, David. Ukiyo-e Explained. Kent, U.K.: Global Oriental, 2004.
  • Calza, Gian Carlo. Ukiyo-e. New York: Phaidon Press Ltd., 2003.
  • Faulkner, Rupert. Masterpieces of Japanese Prints: Ukiyo-e from the Victoria and Albert Museum. Tokyo: Kodansha International Ltd., 1991.
  • Graebner, Horst. "Utagawa Kunisada (Toyokuni III) Signatures and Seals." The Utagawa Kunisada (Toyokuni III) Project[41]
  • Harris, Frederick. Ukiyo-e: The Art of the Japanese Print. Tokyo: Tuttle, 2010.
  • Hillier, J. Japanese Colour Prints. New York: Phaidon Press, 1991.
  • Japan Arts Council. "人物履歴：[初代] 歌川 国貞. (Jinbutsu rireki: [sho dai] Utagawa Kunisada).[42]
  • Japanese Architecture and Art Net Users System (JAANUS). "Aizuri　藍摺."[43]
  • Jesse, Bernd. "The Golden Age of the Utagawa School: Utagawa Kunisada and Utagawa Kuniyoshi." In Samurai Stars of the Stage and Beautiful Women: Kunisada and Kuniyoshi Masters of the Color Woodblock Print, edited by Stiftung Museum Kunstpalat, Gunda Luyken and Beat Wismer, 93-101. Düsseldorf: Hatje Cantz Verlag, 2012.
  • Lane, Richard. Images from the Floating World: The Japanese Print. New York: Konecky & Konecky, 1978.
  • The Lavenberg Collection of Japanese Prints. "Utagawa Kunisada I (1786–1865)."[44]
  • Marks, Andreas. Japanese Woodblock Prints: Artists, Publishers and Masterworks 1680-1900. Tokyo: Tuttle, 2010.
  • Munsterberg, Hugo. The Japanese Print: A Historical Guide. New York: Weatherhill, 1998.
  • Salter, Rebecca. Japanese Popular Prints: From Votive Strips to Playing Cards. London: A & C Black, 2006.
  • Waterhouse, David. Images of Eighteenth-century Japan: Ukiyoe Prints from the Sir Edmund Walker Collection. Toronto: Royal Ontario Museum, 1975.

Notes

  1. ^ a b Salter 2006, 25
  2. ^ "Wwwjdic". Archived from the original on July 28, 2013. Retrieved August 5, 2013.
  3. ^ Salter 2006, 79
  4. ^ a b c Bell 2004, xiv
  5. ^ a b Marks 2010, 14
  6. ^ a b c d e f g Harris 2010, 106
  7. ^ Later examples included small yellow and vermilion elements. (http://www.weblio.jp/content/%E8%97%8D%E6%91%BA%E7%B5%B5)
  8. ^ a b Japanese Architecture and Art Net Users System
  9. ^ 10 of the prints in the original 36 Views of Mount Fuji (1826-1833) were produced as aizuri-e (Harris 2010, 106).
  10. ^ See the uchiwa-e print "Full Moon at Tsukuda Island" (佃島夜の月) from the series 69 Stages of the Kisokaido from 1852.
  11. ^ See "Beauty Holding a pipe" from the c. 1830 series 5 Modern Beauties.
  12. ^ Harris 2010, 31
  13. ^ Faulkner 1991, 29
  14. ^ Salter 2006, 139
  15. ^ a b c d e f g h i Marks 2010, 120
  16. ^ a b c d e Jesse 2012, 95
  17. ^ a b c Harris 2010, 70
  18. ^ From his accession to the name Toyokuni in 1844, Kunisada consistently signed his works 'Toyokuni II,' indicating his refusal to accept the legitimacy of his immediate predecessor, Toyokuni II. He is, however, always referred to as Toyokuni III (Marks 2010, 120).
  19. ^ Kunisada's commercial success and business acumen is attested to by the lavishness of his property: "A rare picture of an artist house is in a book on the Ansei Edo earthquake of 1855, showing Kunisada's large house with additional storage building, but it cannot be considered as standard for all artists because of Kunisada's unparalleled success" (Marks 2010, 25).
  20. ^ "人物履歴｜文化デジタルライブラリー". .ntj.jac.go.jp. Archived from the original on 2015-02-21. Retrieved 2014-01-18.
  21. ^ "While the phonetic reading for the two characters (角田) making up his family name is now fairly universally accepted to be 'Tsunoda,' there are multiple possible readings. Previously, his name has been read by both Japanese and non-Japanese art historians as 'Kadota' or 'Sumida.'". Kunisada.de. Retrieved 21 February 2015.
  22. ^ One of several standard print sizes, measuring approximately 15.5 x 10.5 inches / 39 x 26.5 cm.
  23. ^ a b Marks 2010, 25
  24. ^ Marks (2010, 120) dates landscape use to the 1830s, while Faulkner (1991, 34) argues that he "followed the vogue of including landscape in his paintings" in the 1820s
  25. ^ The Lavenberg Collection of Japanese Prints
  26. ^ Faulkner 1991, 17
  27. ^ Calza 2003, 335
  28. ^ Harris 2010, 73
  29. ^ a b Faulkner 1991, 36
  30. ^ 1991, 36
  31. ^ Munsterberg 1998, 129
  32. ^ Hillier 1991, 126
  33. ^ a b "Bugaku (Japanese dance) - Encyclopædia Britannica". Britannica.com. Retrieved 2014-01-18.
  34. ^ "Bugaku Dance". Improve.com. 2012-02-14. Archived from the original on 2015-02-21. Retrieved 2014-01-18.
  35. ^ a b Horst Gräbner. "Utagawa Kunisada (Toyokuni III) signatures and seals". Kunisada.de. Retrieved 2014-01-18.
  36. ^ "Hanabusa Itchō - Bugaku Dances - Japan - Edo period (1615–1868) - The Metropolitan Museum of Art". Metmuseum.org. Retrieved 2015-02-21.
  37. ^ a b c Alex Faulkner (2010-12-13). "Toshidama Gallery Japanese Prints: Toshidama Seals in Japanese Prints". Toshidama.blogspot.ca. Retrieved 2014-01-18.
  38. ^ Waterhouse 1975, 12
  39. ^ Waterhouse 1975, 13
  40. ^ Waterhouse 1975, 15
  41. ^ "Utagawa Kunisada (Toyokuni III) signatures and seals". Kunisada.de. Retrieved 2015-02-21.
  42. ^ "人物履歴｜文化デジタルライブラリー". .ntj.jac.go.jp. Archived from the original on 2015-02-21. Retrieved 2015-02-21.
  43. ^ "JAANUS / aizuri 藍摺" (in Japanese). Aisf.or.jp. Retrieved 2015-02-21.
  44. ^ "Utagawa Kunisada I (1786–1865) - The Lavenberg Collection of Japanese Prints". Myjapanesehanga.com. Retrieved 2015-02-21.

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Fan_print_with_two_bugaku_dancers&oldid=1216806637"