painting;
panel
- Museum number
- 1921,0317,0.1
- Description
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Painting, hanging scroll mounted as a panel. Courtesan standing, passing hairpin through loop of coiffure. Ink and colour on paper. Trimmed. Signed and sealed.
- Production date
- 1704-1716
- Dimensions
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Height: 95.40 centimetres
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Width: 44.70 centimetres
- $Inscriptions
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- Curator's comments
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Clark 1992
Once the composition for a painting of a single standing beauty was established within the Kaigetsudo atelier, it was frequently reused by the various members of the group with different patterns substituted on the kimono. The use of such formulas and the relatively simple, bold manner of execution must have assisted greatly in mass-producing paintings to meet popular demand. The pose of the woman raising both hands to adjust her hairpins or comb is seen in a number of Kaigetsudo works, such as an Ando painting in the Idemitsu Museum of Arts (Idemitsu 1988, no. 32), as well as prints by Dohan and Anchi, and here Dohan shows her passing a tortoiseshell hairpin through the loop of her 'Shimada' coiffure. Where the artist is able to make an individual contribution, however, is in the striking originality of the designs of the robes: one sleeve of the outer-kimono with its subtle black-on-black design of flower roundels has been shrugged off to reveal the brilliantly contrasting under-kimono of blue and white chrysanthemums against bands of red and white. The outlines of the black kimono are painted in pale grey reserve.
The painting appears to have been trimmed, somewhat over-emphasising the monumentality of the figure.
Literature:
'(Hizo) Ukiyo-e taikan' ('Ukiyo-e Masterpieces in European Collections'), ed. Narazaki Muneshige. Vol. 1, Tokyo, Kodansha, 1987, no. 94.
Tokyo-to Bijutsukan (eds), 'Daiei Hakubutsukan hizo Edo bijutsu ten'. Exh. cat., 9 Aug.-24 Sept. 1990, no. 28.
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Asahi 1996
懐月堂の工房においてひとたび独立美人像の様式が確立してしまうと、工房内の様々な絵師が着物の柄だけ変えて繰り返し描くようになる。そのような制作法や比較的単純で大胆な出来栄えが、一般の要求の応えるための量産に大きく貢献していた。出光美術館所蔵の安度作品（『出光美術館蔵品図録 肉筆浮世絵』1988年 32図）のような、女性が両手を挙げて櫛や簪を直す姿勢は、多くの懐月堂の肉筆作品中に見られ、同じように度繁や安知によって版画化されている。ここでも度繁は島田髷の中に簪を挿している女性を描いているが、一方では、独自の際だった作風を衣装の意匠に見せている。黒地に艶墨で巧みに花の円形文が表わされた表衣の肩袖を抜き、間衣の赤と白のグラデーションに鮮やかに映える青と白の菊模様をよく見えるようにしている。黒い着物を縁どる線は、白銀の塗り残しで表されている。
この作品は回りが切断されていると思われ、少し図柄の大きさが強調されすぎている。
（増渕鏡子（福島県立美術館））
- Location
- Not on display
- Exhibition history
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Exhibited:
2003 18 Oct-14 Dec, Tokyo Metropolitan Art Museum, Treasures of the World's Cultures
2004 17 Jan-28 Mar, Kobe City Museum, Treasures of the World's Cultures
2004 10 Apr-13 Jun, Fukuoka Art Museum, Treasures of the World's Cultures
2004 26 Jun-29 Aug, Niigata Bandaijima Art Museum, Treasures of the World's Cultures
- Acquisition date
- 1921
- Department
- Asia
- Registration number
- 1921,0317,0.1
- Additional IDs
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Asia painting number: Jap.Ptg.Add.16 (Japanese Painting Additional Number)
