painting / handscroll
Painting, handscroll. Part of the seven calamities showing earthquake, and village with people running in panic. Ink and colours on silk.
- Made in: Japan
- Height: 33.6 centimetres
- Width: 105.2 centimetres
In set with 1881,1210,0.2631-2632, 0.2634-2637
Index card attributes to Utsumi Motonori (1812-87), and says the set of 'Seven Happinesses and Seven Misfortunes' were completed by Maruyama Okyo in 1768 for the Eman-in temple, Otsu. Many artists copied this pioneer work of dynamic naturalism.'2631 to 2637. Copies (of inferior quality) from a famous set of drawings by O-kio.'
'The 1733 date is P. Emanin's. Ōkō (Motonori) lived 1812-1887.' (unattributed annotation in the specially interleaved Japanese Study Room copy of Anderson 1886)
31 October 1995
Reason for treatment
mount as handscrolls
The painting having been previously lined see EJL. The mounting silks were lined using a mulberry paper of suitable weight of the Mino type. The paper is adhered using a fresh wheat starch paste, and left to dry on felt. The various silks were then balanced for flexibility by adding more layers of Misu paper, and adhered using a dilute aged paste, the paper/s was secured using a pounding brush (UCHIBAKE). When each part of the mount including the painting were matched in flexibility they were lightly moistened using water and flattened on the drying board. After one week the silks and painting were removed. The silks were trimmed and the mount was assembled using wheat starch paste. The cut edges of silk being first sealed with paste. Joints were hammered to secure. The edges of the scroll were cut and turned in, the seam being adhered using thick aged paste and hammered to secure. A water torn strip of paper was then added to the edge prior to the mount being lined using Misu paper and dilute aged paste. The scroll was left to dry overnight before being moistened with water and flattened on a drying board. The scroll was left for two weeks. The last backing was applied using Uda paper and adhered using Uchibake / aged paste. The silk cover was also attached using aged paste. Two silk strenghening strips were applied using aged paste to the roller line on the bottom pocket. The scroll was allowed to dry overnight before being moistened with water and flattened on a drying board. The scroll was left for two weeks, face out. Joints were checked before the scroll was removed from the drying board, burnished on the verso using glass beads and Ibota wax. The scroll was the re-attached to the drying board using a little moisture and wheat starch paste. The scroll was left for six months. On removal the paper edges were trimmed off and the roller and stave attached using strong wheat starch paste. Kan were nailed onto the top stave and the hanging braid knotted on.mum of 25% Blanose 7MC (sodium carboxy methyl cellulose) in distilled water applied to underside of loose bandage on a metal spatula. Gentle finger pressure then applied to effect adhesion.
The collection of over 2,000 Japanese and Chinese paintings assembled by Prof. William Anderson during his residency in Japan, 1873-1880, was acquired by the Museum in 1881. The items were not listed in the register, but rather were published separately as the 'Descriptive and Historical Catalogue of a Collection of Japanese and Chinese Paintings in the British Museum' (Longmans & Co, 1886).
- Jap.Ptg.2396 (Japanese Painting Number)
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Object reference number: JCF2165
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