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FIG. 10
Nishikawa SUKENOBU
祐信 (1671–1751)
Three Courtesans Preparing for a Party
宴に備える3人の遊女 (1710s)
Hand-colored black and white print (tan-e), 28 x 38 cm
Author’s Collection
This is a good example of an indoor–outdoor scene. The relative importance of the three courtesans is indicated by their differing sizes.
The Torii school, founded by Torii Kiyonobu I (1664–1729) (Fig. 12), produced such artists as Torii Kiyomasu I (ca. 1694–1716?), who lived a short but talented life and is believed to be either the son or younger brother of Kiyonobu I (Figs. 13, 14), and his successors, Torii Kiyomasa II (1706– 63) (Figs. 15, 16) and Torii Kiyotada I (1720–50) (Fig. 17). The early Torii school artists worked so closely together and were so intermixed by family ties and teacher–pupil relations that it takes a great deal of expertise to differentiate their work. For example, some people believe that Kiyomasu II and Kiyonobu II are one and the same person. Others say Kiyomasu II was the adopted sonin-law of Kiyonobu II.
The Kaigetsudo school, founded around 1700–14 by the painter Kaigetsudo Ando (n.d.), includes in its ranks several significant artists, among them Nishimura Shigenobu (active 1724–35) (Fig. 18), Okumura Masanobu (1686–1764) (Fig. 19) and Ishikawa Toyonobu (1711–85) (Fig. 20). As with the Torii school, the styles of the various Kaigetsudo artists are very similar and it is often difficult to differentiate them. However, all tended to work in larger format prints and almost all portray a single female figure, at times with an attendant. The prints swing in an uncontrolled rhythm using an exciting thick calligraphic line to define the pose. There is a wonderful contrast between the thick curvilinear outline and the very fine thin line that describes the features of the head, hands and feet. As an artist, I am interested in the fact that these Japanese prints follow a concept identical to one commonly employed by the artists in the Italian Renaissance, namely the counter spiral. The head and feet point in an opposite direction to the torso, giving the figure, even though stationary, a sense of movement. This concept came naturally to the Japanese whereas it took years for it to be understood in Europe.
All of the prints in this chapter are brightly colored by hand, a technique that will be discussed in more detail in the relevant chapters. These hand-painted prints have interesting descriptive titles, depending on what colors dominated. Most of them are referred to as tan-e. There is some disagreement among scholars as to whether the term tan refers to a deep chrome yellow or to an ochre yellow. Others call tan-e vermillion, with yellow and green being subordinate colors. Prints tinted in red only are referred to as beni-e. The word beni for red is still commonly used for women’s lipstick, which is called kuchibeni (kuchi meaning mouth). If lacquer was used in the hand coloring, the prints are known as urushi-e, urushi being the word for lacquer.
FIG. 11
Sugimura JIHEI
治兵衛 (active 1681–97)
The Court Lady Koshikibu-no-Naishi 小式部内侍
Hand-colored black and white print (tan-e), 59 x 33 cm
Author’s Collection
The court lady Koshikibu-no-Naishi was a well-known poet in the middle of the Heian period, who went to service at the court at the age twelve, led a rather promiscuous life, and after her second child died at the age of twenty-six. Four of her poems are included in an Imperial compiled anthology. This picture, which has a wonderful rhythm of black, shows her visiting the Kitano Shrine expecting to see and hear a cuckoo sing. Her hand points to the ema (votive tablet) with a painted cuckoo, which started to sing as she was composing a poem about it.
FIG. 12
Torii KIYONOBU I
清信 (1664–1729)
The Actor Tsutsui Kichijuro 筒井吉十郎 の京下り (1700s)
Hand-colored black and white print (tan-e), 54 x 31 cm
Author’s Collection
This exciting print shows an actor as a samurai in an animated and provocative pose brandishing two fur-covered spears. The patterns on the kimono are indifferent to the folds as they swirl about the figure.
FIG. 13
Torii KIYOMASU I
清倍 (ca. 1694–1716?)
Reading a Love Letter 恋文を読む (1700s)
Black and white print (sumizuri-e), 53 x 31 cm
Author’s Collection
In this print, a dramatic display of calli-graphic brush strokes creates a sense of rhythm and counter rhythm. Some of the finer lines are not related to the specific forms but are included purely as abstract elements to hold the design together.
FIG. 14
Torii KIYOMASU I
清倍 (ca. 1694–1716?)
Three Kabuki Actors Pounding Rice Paste 三歌舞伎役者の餅つき
Hand-colored black and white print (tan-e), 58 x 31 cm
Author’s Collection
Here, three actors with their family crests prominently displayed are pounding rice inside a wooden barrel into mochi (rice paste), a ritual usually performed during the New Year season. The figure on the right holds the wooden mallet. The rice paste is hardened and cut into small squares that are either roasted or included in a New Year soup.
FIG. 15
Torii KIYOMASU II
二代 清倍 (1706–63)
The Actor Nakamura Senya 中村 千弥
Hand-colored black and white print (tan-e), 60 x 31 cm
Author’s Collection
In this print, Nakamura Senya stands under a cherry tree in full bloom, with a hi-gasa (sunshade umbrella).
FIG. 16
Torii KIYOMASU II
二代 清倍 (1706–63)
Three
