File:Hanging scroll, painting (BM 1913,0501,0.385 6).jpg
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Captions
Captions
Summary
[edit]hanging scroll, painting
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| Artist |
Painted by: Kubo Shunman (窪俊満)
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| Title |
hanging scroll, painting |
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| Description |
English: Painting, hanging scroll. Courtesan and attendants, dressed in matching new robes decorated with cranes flying over tops of pine trees, passing in front of New Year display of pine boughs and bamboo. With poem. Ink and colour on silk. Signed, sealed and inscribed.
[Jap.Ptg.1419, image (Ta)] - |
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| Date | between 1789 and 1821 | |||||||||||||||||||||||
| Medium | silk | |||||||||||||||||||||||
| Dimensions |
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| Collection |
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| Current location |
Asia |
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| Accession number |
1913,0501,0.385 |
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| Notes |
Clark 1992 The auspicious New Year 'kyoka' ('crazy verse') composed and inscribed on the painting by Ota Nampo (1749-1823), doyen of popular cultural circles, may be translated: A New Year engagement Is particularly expensive So the hired comedians Are practically in heaven - Yoshiwara in spring. The 'first engagement' ('hatsukai') of a courtesan at the New Year was an especially lavish affair, so the comedians hired to entertain at parties ('massha' or 'hokan') stood to make a lot of money. There is also a string of word-play/associations involving the terms 'massha', which can also mean a small 'subsidiary shrine'; 'kamiyo' ('the age of the Gods', 'heaven'); and the idea that the Yoshiwara pleasure quarter at the New Year holiday was like heaven on earth. The same inscription appears on another painting by Shumman, 'Standing Courtesan Reading a Letter' (Tanaka 1911-13, vol. 2, pls not numbered). As the signature suggests, Shumman took his lead from the poem and filled the painting, too, with auspicious New Year imagery: decked out in matching new robes with a lucky pattern of cranes flying over the tops of pine trees, the courtesan and her 'kamuro' attendant are on their way to the first engagement of the New Year, passing in front of a New Year display of fresh pine boughs and bamboo. In her hair, too, the 'kamuro' has arranged the first few red plum blossoms, with some tiny sprigs of pine. Broad strokes of ink wash have been skilfully used on the courtesan's surcoat to suggest the glossiness of the black silk. Tanaka Tatsuya has suggested that the circular 'Shumman' seal on the present painting was used from the late Temmei (1781-9) to the early Bunka (1804-18) eras and that from mid-Bunka onwards Shumman switched to a different circular 'Shumman' seal, one which includes the three strokes of the water radical on the left-hand side of the character 'man' ('NU', vol. 5 (1983), pp. 77, 78). The face here has the pointed, slightly turned-up nose and narrow eyes which taper to slightly upturned points characteristic of Shumman's mature works. In a second version of this subject by Shumman the composition is reversed and the courtesan has a 'yoko-hyogo' hairstyle ('Ukiyo-e taisei', vol. 8 (1930), no. 143). Literature: '(Hizo) Ukiyo-e taikan' ('Ukiyo-e Masterpieces in European Collections'), ed. Narazaki Muneshige. Vol. 1, Tokyo, Kodansha, 1987, no. 124. |
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| Source/Photographer | https://www.britishmuseum.org/collection/object/A_1913-0501-0-385 | |||||||||||||||||||||||
| Permission (Reusing this file) |
© The Trustees of the British Museum, released as CC BY-NC-SA 4.0 | |||||||||||||||||||||||
| Other versions |
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