Object data
nishikie, with metallic pigments and blindprinting
height 136 mm × width 189 mm
Ryûryûkyo Shinsai
Watching the Sunrise at Enoshima
Japan, Japan, Japan, Japan, 1809
Inscriptions
- collector's mark, verso, stamped
Context
This surimono was reissued in the shikishiban format later, probably in the next Year of the Snake, 1821, with various modifications to the design and five poems (see Mirviss & Carpenter).1
The reissue was probably inspired by the Wakinomachiren from Echigo Province, and it raises interesting questions about the ownership and preservation of blocks in the non-commercial circuit.
The artist
Ryuryukyo Shinsai (n.d., but often given as 1764?-1820; the latter date is definitely incorrect as his last known designs were issued in 1825) is said to have first been follower of Tawaraya Sori, and later of Katsushika Hokusai, who gave him the art-name Shinsai in 1800. His personal name was Masayuki. He was one of the most prolific designers of surimono in the early 19th century and thoroughly explored the possibilities of issuing works in titled series.
Entry
Two townswomen have travelled to Enoshima Island in Sagami Province to watch the first sunrise of the year. Their manservant is seated on the pole used to carry the two trunks, smoking a pipe.
For the association between Enoshima Island and the Year of the Snake see RP-P-1991-611.
The emblem of the Yomogawa not only appears on the bundle lying on the trunk, but is also on the headscarf of the lady to the right.
Three poems by Jungetsutei, Shimizu Masako [a member of the Gogawa],2 and Yomo no Utagaki Magao [1753 - 1829, Shikatsube Magao, pupil of Yomo Akara. Used the name 'Yomo' from 1796, when he became a judge of the Yomogawa. Alternative name Kyokado.3
The three poets apparently agreed to refer ro crows, the traditional messengers of the sun. The designer, however, was apparently unhindered by this, unless the three people are actually looking at crows beyond edge of the image.
The first poem alludes to:
The wide scenery as the sun rises when making a pilgrimage on the Day of the Snake, even the crows rave at the bird-sky.
In the second poem, 'crows take delight in the flesh of the asari shells coming to the island [of Enoshima]'.
The third speaks of:
The cries of crows flying over the tortoises at the beginning of Spring are even louder than thoses of the cranes - this is Enoshima
- cranes and tortoises, both emblems of long life, are combined here with crows as the messengers of the sun.
Issued by followers of the poet Yomo Magao, 1809
Signature reading: Shinsai
Literature
M. Forrer, Surimono in the Rijksmuseum Amsterdam, Leiden 2013, no. 16
Citation
M. Forrer, 2013, 'Ryûryûkyo Shinsai, Watching the Sunrise at Enoshima, Japan, 1809', in Surimono from the Goslings Collection in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.358135
(accessed 15 November 2024 13:05:36).