216 the rijks short notice donatello’sa hishikawa role in the school designmuseum screen of antonio uncovered rizzo’s virgin and child bulletin

A Hishikawa School Screen Uncovered

• menno fitski and lucien van valen •

fter many decades wrapped in < Fig. 1a style to that of works generally accep­- old-fashioned greaseproof paper Genre Scenes of Edo, ted as by the founder of the school, A Japan, Edo, c. 1680- in storage in the Rijksmuseum, an Hishikawa Moronobu (1630/31-1694).3 1700 (detail left and eightfold Japanese screen with genre The imagery of each scene will be dis­ pp. 218-19). scenes (fig. 1a) was recently restored. Eight-fold screen, cussed, accompanied by comparis­ons It was in very poor condition and there ink and colours on with other works and some findings were numerous problems: the paper paper, 138 x 424 cm. from the technical research that will hinges were un­stable, the surface was Amsterdam, help to shed light on the materials and dirty and had been abraded, pierced or Rijksmuseum, techniques used, and the history of eaten away in many places, the under- inv. no. ak-mak-171; the screen. This leads on to a descrip­- on permanent loan lying paper supports had deteriorated, tion of the hitherto unknown prov-­ from the Royal Asian resulting in discoloration of the paint- Art Society in the e­nance of the screen, which serves as ing, and, lastly, the mount was seriously Netherlands. an example of the trade in Japanese compromised. All this necessitated a painting in the early decades of the complete remount, which was carried twentieth century. out by the Restorient workshop in Leiden. Research directed towards The Painting on the Front of improving knowledge of the materials the Screen and tech­niques that had been used in The main image on the front uses two the screen was conducted during this trees on either side to frame several process, this with a view to improving genre scenes: in the Japanese viewing our under­standing of the screen, about > Fig. 1b direction from right to left, a crowd which little was known.1 itabashi tsurao, watching a theatrical performance, The chief goal of the art historical Late Autumn in Xiling, three small groups of people around research was to examine the scenes on Japan, nineteenth a stream, and a party engaged in the century (reverse the screen, which also has a – much delights of cherry blossom viewing. of fig. 1a). later – painting on the reverse (fig. 1b), Eight-fold screen, The theatre scene (fig. 2) shows a testifying to the use of Japanese folding ink, colours and play being performed before a varied screens as multi-functional room gold on paper, crowd of onlookers sitting on the dividers which could be displayed in 138 x 424 cm. ground in front of a wooden stage, different ways.2 None of the images in Amsterdam, with the higher-class audience watch­ either painting has ever been studied Rijksmuseum, ing from two boxes to the right. It inv. no. ak-mak-171; and this article aims to identify them, shows the Nakamura-za theatre in on permanent loan and to place the main painting within from the Royal Edo as it was before the mid-sixteen- 4 the context of works of the Hishikawa Asian Art Society eighties, which dovetails nicely with School by comparing the painting in the Netherlands. the information that can be deduced

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1a

1b 218 short notice donatello’sa hishikawa role in the school design screen of antonio uncovered rizzo’s virgin and child

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from the portrayal of the play and its Takayasu.7 Despite this fact, his first Fig. 2 actors, as we will see below. wife never reproaches him and waits Detail of the eight- The scene on stage is very similar for him patiently whenever he travels fold screen (fig. 1a): to a double-page book illustration in to and from Takayasu. The husband Scene from the kabuki play Tales of Actors Past and Present ( thinks this very suspicious and one 古今役 Takayasu kayoi , Kokon yakusha mono­ night, to check whether she is not 者物がたり in the Nakamura gatari) by Moronobu, whose prints secretly having an affair, he pretends theatre. and printed books documented the to leave for Takayasu and hides in the world of the Edo pleasure quarters shrubbery in the front garden. He and theatres in the late seventeenth watches his wife comb her hair, reciting century (fig. 3).5 Tales of Actors Past a romantic poem that expres­ses her and Present was first published in 1678, longing for her husband. The story as a guide to the world of kabuki relates: ‘While he was still watching theatre, and it illustrates the Ichimura her, she burst into tears. Throwing and Nakamura theatres in Edo and herself down, she poured some water sixteen scenes from the repertoire of into a metal bowl, which she pressed early kabuki plays. The main scene to her breast. “How curious! Why is from Coming and Going to Takayasu she doing that?” he wondered and ( , Takayasu kayoi) is continued his watch. Soon the water たかやすかよひ depicted in fig. 3. This now little-known was boiling furiously. She emptied it, play was an adaptation of an episode in then filled the bowl once again with the collection of Yamato Stories ( cold water. The sight moved him so 大和 , Yamato monogatari).6 It tells the greatly he ran up to her, crying, “What 物語 story of a young man who marries his grief drove you to do this?” He took childhood sweetheart. When the wife’s her into his arms and remained with father passes away, her husband feels her that night. Spending all his time obliged to enter into a second relation­ with his first wife, he ceased altogether ship, with a woman in the county of to visit his new wife.’8

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Fig. 3 On the stage, the husband is placed butterflies. Although identification of hishikawa behind a brushwood fence. He wears this mon cannot be established at this moronobu, a courtier’s costume, including the point,11 it may be significant that the Scene from the accom­panying cap, albeit with a top part of Moronobu’s printed book kabuki play fashionable contemporary hairstyle. illustration shows a row of actor crests, Takayasu kayoi, double-page His faithful wife, called Tsutsui in the among them one with two facing butter- book illustration, play, is depicted as an elegant figure, flies. This is puzzling, since Sennojo¯ is Tales of Actors languidly reclining on an armrest in associated with another crest that does Past and Present, a stylish kimono. This is likely to not figure here.12 There is a possibility Japan, Edo, 1678. be a portrait of Tamagawa Sennojo¯ that there was more than one gener­- London, British (?-1671), a famous actor of women’s a­tion of actors who used the name Museum, inv. no. roles (onnagata). He played Tsutsui in Tamagawa Sennojo¯ and there may be 2014,3024.1. Takayasu kayoi from 1653 to 1654 in confusion about the use of the various Edo and toured the country to perform crests by these different actors.13 in other cities, to great public acclaim. It may well be that Sennojo¯’s huge According to an entry in the well- success was an incentive for a client to known diary of the theatre-loving order this screen to be painted, looking daimyo Matsudaira Naonori (1642-1695), back on a performance by Sennojo¯, Sennojo¯ returned to Edo from Kyoto in who died in 1671. The similarity to the early 1662 to perform in the Nakamura image in Moronobu’s Tales of Actors theatre depicted here on this screen.9 Past and Present leads us to assume Later in 1662 the diary mentions him that this book illustration was the in a performance of Kawachi kayoi, a model for the screen, and that the play that is considered to be the same screen was painted after 1678, when as Takayasu kayoi.10 Moronobu’s book was published. On the screen, the theatre compound Moronobu published a number of is surrounded by curtains emblazoned printed books, in which he developed with a mon (clan crest) of three facing what has been described as ‘a visual

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Fig. 4 vocabulary’, a reservoir from which he However, the brushwork by Moronobu Detail of the eight- and his followers could draw for their on the Tokyo National Museum screens fold screen (fig. 1a): portrayal of the people who inhabited is cleaner and more polished than the Musicians on the the world of theatres and the pleasure somewhat looser, more calligraphic stage of the 14 Nakamura theatre. quarters. That the Hishikawa School brushwork on the Rijksmuseum screen. used template-like groups of figures The left-hand side of the screen is Fig. 5 can be confirmed by the depiction and dominated by a scene of a lively party Musicians on the arrangement of the musicians in the of cherry blossom viewers (fig. 6). Three stage of the theatre. The grouping is very close to women dance on a mat decorated with Nakamura theatre, that on the pair of screens in the Tokyo flower motifs, accompanied by three detail of Hishikawa National Museum with a picture of musicians playing the flute, the drum Moronobu, Kabuki Theatre, Japan, Edo, the Nakamura theatre (figs. 4, 5). and the three-stringed lute, shamisen. seventeenth century. Pair of six-fold screens, ink, colours and gold leaf on paper, each 170.0 x 397.6 cm. Tokyo, Tokyo National Museum, inv. no. a-11084. Photo: dnp Image Archives, Tokyo

Fig. 6 Detail of the eight- fold screen (fig. 1a): Cherry blossom viewing party.

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A landscape screen behind them illu­s­ trates the adaptable use of a folding screen. To the left, the curving trunk of the tree encloses a party of a cour­- te­san with two attendants, a woman play­ing a zither and another shamisen player. A curtain surrounding the party carries the mon of two ginger leaves of the brothel Myo¯ga-ya from the Yoshiwara licensed quarter in Edo,15 signalling that this is an outing. This group is comparable to several other depictions of Myo¯ga-ya cherry blossom viewing parties on a number of handscrolls,16 for instance the example by Moronobu in the Weston Collec­ tion (fig. 7).17 They share very similarly depicted musicians, courtesans and people preparing food, with variations curving tree frames the images is some- Fig. 8 in the arrangements. Likewise, the what contrived. Detail of the eight- brush­work lines are clean and of On the middle section, there are more fold screen (fig. 1a): Group of men. constant width. Again, it is clear that types that are characteristic of the the brushwork on the Rijksmuseum entertainment circles of Edo society. screens is less neat and even, but at the A group of rough-looking men walks same time a little livelier and more towards the blossom viewing, centred varied. Furthermore, the technique around a swashbuckling man with two of shading on the meandering cherry very long swords and the unshaven tree is comparable to a certain extent hairstyle of a ro¯nin, a samurai with no to works by Moronobu, but seems master (fig. 8). A little further to the less expertly handled, and the way the left an older man sitting on a rug holds

Fig. 7 Detail of Hishikawa Moronobu, Genre Scenes of Edo, Japan, Edo, 1688-94. Handscroll, ink and colours on silk, 39.7 x 679.5 cm. Chicago, Weston Collection, inv. no. 54: Cherry blossom viewing party. Photo: Jamie M. Stukenberg

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a lacquer cup, while a servant boy fills it with sake from a gourd bottle (fig. 9). Next to them, a young man holds a brush and a slip of paper; he is about to compose a poem. His hairstyle is that of a wakashu: a young man who has not undergone the coming of age ceremony.18 Wakashu were in a transient realm, where they did not have the social responsibilities of adults but were considered sexually mature and were available for relation­ ships with either men or women.19 The older man in this painting is there­ fore likely to be his nenja, an older companion with whom the youth may or may not engage in a homoerotic relationship.20 The template-like use of elements Fig. 9 in the composition is also evident on Detail of the eight- an eight-fold screen that once formed fold screen (fig. 1a): a pair with the Rijksmuseum screen Drinking party. Fig. 10 (fig. 10, see also below, p. 228). Like the Exhibition by the art Rijksmuseum screen, it shows a theatre dealer Felix Tikotin, scene taken from Moronobu’s Tales Dresden, before 1926. of Actors Past and Present.21 Although Photograph, Dresden, Deutsche details of this screen, whose where­ Fotothek, inv. no. abouts are now unknown, are hard 32014606. to read from the photograph, it seems

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to bear scenes that are part of the for the moment, the screen can there­ Fig. 11 iconographical idiom known from fore only be attributed to the wider Detail of the eight- several genre scene paintings from the Hishikawa School, probably in the last fold screen (fig. 1a): Tsutsui and her Hishikawa School: a boating scene;22 two decades before 1700. husband outside groups of figures including ro¯nin and the fence. a view of the Yoshiwara district.23 The Materials Used on the It is clear from the above that the Front of the Screen Rijksmuseum screen is a collection of The screen was examined prior to samples from the world of entertain­ remounting, to establish whether the ment in Edo, using elements from the pigments used might deviate from the iconographic idiom that are widely standard range of mineral pigments.26 It found on other Hishikawa School was necessary to rule out the possibility works. We have found no similarity of the addition of later pigments that in the depiction of faces, postures and might not withstand the usual practice scenery in signed works by followers of cleaning with moisture, which is a of Moronobu.24 When compared to standard part of the remoun­ting process. Moronobu’s own paintings, it is notice­ During the testing, it was noticed that able that the composition of the screen the faces and clothes displayed different is rather loose, consisting of elements colours of grey and white. Several tests placed quite separately from each were carried out into the nature of other, whereas Moronobu’s works are the pigments used in those places, to characterized by a tight coherence and establish whether the grey might be the flow of visual elements in the compos- result of discoloura­tion. It was found i­tion, which contributes to a strong that at least two white pigments were narrative character. There is, moreover, used: for the most part shell white the aforementioned difference in style (gofun) and in a few instances small of painting, with calligraphic brush areas of lead white, for instance the strokes as opposed to the polished white collar that frames the face of the lines of Moronobu’s mature work. actor standing behind the fence (fig. 11).27 The only instance of more calligraphic No lead was found in the pigment for brushwork by Moronobu can be seen his grey-coloured face (nor for any in a painting dated 1679, although other of the other ones tested).28 This the intensity and individualization of led to the conclusion that the grey was the faces sets it apart from those on not the result of discolouration of the the Rijksmuseum screen, which have lead white, but was done intentionally, a more uniform expression.25 At least to offset it from the white colour.

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The Image and Materials on the Reverse of the Screen Unusually for Japanese screens, in the mid-nineteenth century a painting of a landscape scene by Itabashi Tsurao ( , 1809-1872) was added on 板橋貫雄 the reverse (fig. 1b). Given the non- standard format, this was presumably specially commissioned.31 Tsurao studied under Sumiyoshi Hirotsura ( , 1793-1863),32 one of the 住吉弘貫 Fig. 12 Further colour research brought to last major artists of the Sumiyoshi Particles of silver light the use of a special pigment for School. Painters of this school served (Ag) and sulphur (S), the finely decorated blue kimono of the primarily as painters to the shogunal found in a sample reclining actor playing the female role. court in Edo and worked in a some­ taken from the xrf testing identified the presence of what flat, decorative style that focused blue kimono of the reclining actor silver in the blue pigment, and further on fine line and detail. In line with the playing the female investigation of a cross section with Sumiyoshi tradition, Tsurao painted role (see note 29). an sem-eds pointed to the addition of the landscape in bril­liant colours. The sulphur and showed that the silver was title ‘Late Autumn/Autumn Dusk in not foil, but particles embedded in a Xiling’ makes it clear that it 西嶺秋暮 glue layer (fig. 12).29 This leads to the depicts the moun­-tains of Xiling ( ) 西嶺 conclusion that it must be kungindei in the Western Chinese province of ( ), a blue silver that is prepared Sichuan, now famous as a ski resort, 薰銀泥 by rubbing silver foil between the but also known for the autumn colours fingers with an animal glue to form of the maple trees (fig. 13). a paste. Subsequently, this paste can Tsurao used expensive, high-quality be chemically altered using sulphur, pigments, testifying to the fact that this to colour it blue, red or black.30 side must indeed have been considered

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not just as the back, but as a complete Remounting Fig. 13 artwork in itself. Analysis of the Extensive surface scratches and Detail of the eight- materials confirmed their nature: pigment loss due to abrasion and fold screen (fig. 1b): vermilion, malachite, azurite and insect damage, combined with the Maple trees in the mountains of Xiling. an abundance of powdered gold.33 generally poor condition of the Flowers are depicted in bright azurite lacquer frame, the mounting silks and vermilion, and the greens are and the hinges, necessitated a complete mostly malachite. The broadly painted remount. After the screen was dis­ clouds and hills, which over time had mantled, staining in the paper was acquired a brown-grey hue, were reduced35 and only repairs in poor found to consist of a very fine gold condition and/or of a wrong colour powder and have been made visible match were replaced. The areas of again by the treatment during the silverfish damage were retouched remounting process. once the painting had been relined. Overall, the painting on the reverse Unusually, the old lacquer frame had acquired a substantial amount of was found to be attached using very dirt, especially on the left and right accurate mortise-and-tenon joints, panels that formed the outside of rather than the customary nails. the screen when it was stored shut.34 Equally unusual was that the old These parts benefited substantially inner wooden frames for the panels from cleaning and they now form a appeared to have been reinforced much more unified whole with the at the bottom with wooden planks. remaining six panels, especially since The further composition of the paper they have been mended in several layers was found to be traditional, places, where the panels had been anticipating the future removal of pierced. As a result, the painterly the paintings by only lightly attaching quality of the wide mountain scene is the uppermost paper layers. As was expressed to a much greater extent customary, old paper was used for the than before. inner layers. These often carry writing,

227 the rijksmuseum bulletin which in this case seems to have been just calligraphy practice and has not so far yielded any information. Interestingly, guidelines from previous remounting were found beneath the silk border that surrounded the paint­ ing on the front, which served to align the various parts. It thus became clear that the Hishikawa School painting has probably been remounted four or five times since its time of inception. In contrast, the landscape painting on the reverse showed no signs of remounting, leading to the conclusion that the screen was last remounted somewhere in the middle of the nineteenth century, when the newly made landscape painting was added to the reverse of the screen. in Japan, which would mean that the Fig. 14 identical one in German was too. It Detail of the eight- Provenance is consequently possible that it was a fold screen (fig. 1b): The early whereabouts of the screen German visitor who brought the screen Paper labels. are unknown. Two identical paper back from Japan.39 labels attached to the reverse mention Intriguingly, the paper label in a very prestigious but as yet uncon­ Japanese also states that it is ‘a pair firmed provenance (fig. 14). The label of eight-fold screens’.40 This is some­ in Japanese states that it comes from what puzzling, since a pair of Japanese the Owari clan; the one in German that fol­ding screens consists almost in­ it comes ‘from the Lords of Nagoya’.36 variably of two six-fold screens, but The Owari domain had its head­quarters indeed, there is a photograph of a screen at Nagoya Castle and was ruled by the that must be its pendant (fig. 10). Both Owari-Tokugawa clan. screens appear to be the same size, The screen makes its earliest verifiable when they were photographed as part appearance in a photograph taken in of the Tikotin collection in Dresden,41 1924 at Galerie Ernst Arnold in Dresden and have identical mountings. One (fig. 15), where the art dealer Felix wonders whether the other screen Tikotin (1893-1986) had an exhibition was also furnished with a nineteenth- from April to May 1924.37 The Ernst century landscape painting, and above Arnold gallery had sold Japanese art all, where it is now. It does not appear since 1885, when it staged the first in later sale catalogues published by Japanese print exhibition in Germany.38 Tikotin.42 In the early years of the twentieth cen- Tikotin is perhaps less well known tury, it was frequented by Felix Tikotin, than other dealers active in Europe in who grew up in Dresden and developed the same period, such as Yamanaka & a passion for Japanese art in that city, a Co. in London or Bing in Paris, but centre of interest in Japanese art. After he deserves a place amongst the im- the First World War, Tikotin gradually por­tant dealers of the twentieth ventured into the art trade and started century in Europe, whose activities to build a sales collection on visits to served as conduits for the influx of Munich, Berlin, Paris and London. It Japanese art objects. As such, these may have been that he acquired the dealers func­tioned as arbiters of taste, screen on one of these visits. It is likely shaping private collections through the that the label in Japanese was attached range of objects that they offered and

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the knowledge that they transferred. 17 October 1931 record that the society Tikotin travelled to Japan frequently wished to purchase two objects ‘in the and sold Japanese pieces to many collec­- possession of the chairman’, one of tors and museums, and his influence which was ‘a large eight-fold Japanese on collecting was particularly strong in screen that the dealer Tikotin wishes the Netherlands, where he was forced to take back; however, it is deemed to move in 1933 due to the political desirable to retain it in this country.’44 situation in Germany.43 The minutes further record that By then, the Rijksmuseum screen had Westendorp is willing to offer it for passed through the hands of Herman the purchase price of rm 2,000, to Karel Westendorp (1868-1941), one be paid when convenient. Further, of the foremost Dutch collectors of he is happy to keep it, if the society Japanese art and a founding member prefers not to buy it. In the end, when of the Royal Asian Art Society in the Westendorp had left the room, the Netherlands (Vereniging van Vrienden committee decided that it would be der Aziatische Kunst, vvak), and its advisable to acquire it. ongoing chairman from its found­ation The statement that Tikotin expressed Fig. 15 in 1918. Westendorp’s collecting reached a wish to take back the screen may mean Exhibition by the art a peak in the nineteen-twenties and he that at that point it was still on approval dealer Felix Tikotin in had met Tikotin very early on in his with Westendorp. It is likely that Galerie Ernst Arnold, career. One of Westendorp’s diaries Westendorp, a retired banker with Dresden, 1924. Photograph, mentions a visit to Tikotin in Dresden in considerable means, acted here as a 158 x 227 mm. 1922. It is not known when Westendorp private bank, advancing funds to pre- Amsterdam, Tikotin received the screen; however, the finance the acquisition of an object, Archive. minutes of the vvak board meeting of so that it would not be lost during the

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period the society needed to decide sum for the purchase of further art whether to purchase it or not. It is objects for his personal collection, relevant that at this time the severe which he fully intended to leave to the economic crisis of the early nineteen- society, so if the screen had remained thirties was in full swing. Currencies with him in 1931, it would have were in turmoil, the gold standard was nevertheless ended up where it is now, in the process of being abandoned; in the vvak collection. In any case, Westendorp therefore showed himself Westendorp did well to find this to be generous with his offer to receive screen, which is once again able to repayment whenever it suited the feature in all its glory as an early society. In the end, he was reimbursed acquisition of a major Japanese genre 1,200 guilders in May of the following painting in the Netherlands. year.45 No doubt Westendorp used the

abstract The restoration of a Japanese eight-fold screen, accompanied by art-historical study and research into materials and techniques has greatly enhanced the understanding of the object. Each side bears a painting and it was found that the oldest painting depicts the world of entertainment in Edo in the late seventeenth century, with a portrayal of the Nakamura theatre, holding a performance of the early kabuki play Coming and Going to Takayasu, featuring the then popular actor of women’s roles Tamagawa Sennojo-. The source of this scene is an illustration from a 1678 book by Hishikawa Moronobu, Tales of Actors Past and Present. Also, there is an outing to view the cherry blossoms by the Yoshiwara brothel Myo-gaya. The other side was fitted in the mid nineteenth century with a specially commis- sioned painting of an autumn landscape by the painter Itabashi Tsurao, using high- quality pigments. The provenance of the screen has been traced back to 1924, to the dealer Felix Tikotin. It was acquired by Herman Karel Westendorp, the first chairman of the Royal Asian Art Society in the Netherlands, the present owner, to whom Westendorp sold it in 1931.

notes 1 Some of this technical research has also Period – In commemoration of the been published in Lucien van Valen and Opening of the New Kabukiza), exh. cat. Menno Fitski, ‘De restauratieateliers’, Tokyo (Suntory Museum of Art) 2013, Aziatische Kunst 47 (2017), no. 1, pp. 46-53. pp. 50-55, nos. 24-26, for the depictions 2 Although a screen like this functioned as of the Nakamura theatre: on the pair of a flexible room divider and therefore has screens in the Suntory Museum (dated no one single front, for practical purposes, to around 1693), in a wooden model, and the side with the oldest painting is referred on the hand scroll in the Ota Museum to as ‘the front’. (dated 1684-89). In fact, there were two 3 See for Moronobu Timothy Clark et al., series of elevated boxes ( , sajiki) at 棧敷 The Dawn of the Floating World 1650-1765: right angles on either side of the stage. Early Ukiyo-e Treasures from the Museum Around 1685-90 a two-storey sajiki was of Fine Arts, Boston, exh. cat. London installed. The front of the box could be (Royal Academy of Arts) 2001, pp. 49-50 covered with a movable bamboo blind, and David Waterhouse, ‘Hishikawa to ensure privacy for the onlookers, or Moronobu: Tracking Down an Elusive could be decorated, as has been done Master’, in Designed for Pleasure: The here, with a throw over the railing. Earl World of Edo Japan in Prints and Paintings, Ernst, The Kabuki Theatre, London 1680-1860, exh. cat. New York (Asia 1956, pp. 37, 41; Jacob Raz, Audience and Society and Museum) 2008, pp. 33-55. Actors: A Study of their Interaction in the 4 See Japanese Traditional Theatre, Leiden 1983, 歌舞伎：えどの芝居小屋 歌舞伎座新開場 (Kabuki: Theaters during the Edo pp. 157-59. 記念展

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5 Pages 6v and 7 of the illustrated book, 12 According to Shu-go- Asano, 菱川師宣と浮世絵 Satoru Sato-, ‘ 1 (Hishikawa Moronobu and the 版本紹介 「古今役者ものがた の黎明 (Introduction of Print Books I: Kokon Dawn of Ukiyo-e), Tokyo 2008, pp. 139-40, り」 Yakusha Monogatari (Story of Actors in Sennojo- had a mon of a four-lobed plum History))’, Ukiyo-e Art 103 shape with paulownia leaves in the centre. 浮世絵芸術 (1992), p. 29. A complete transcription of He appears with this mon in the 1693 the text is given on pp. 14-37. See also illustrated guide for kabuki actors by Susumu Matsudaira, Torii Kiyonobu, (One 師宣祐信絵本書誌 古今 四 場 居百人一首 (Bibliography of Illustrated Books by Hundred Actors of All Ages), also 古今四場 Moronobu and Sukenobu), Musashimu- (Beauty of Actors of All Ages). 居色競 rayama 1988 ( 57 (Survey of However, in this guide, the actor Tamagawa 日本書誌学体系 Japanese Bibliographical Studies, vol. 57)), Kasen, a later onnagata actor from the line- pp. 13-18, for bibliographical information age that was started by Sennojo-, is listed about this rare book. with the two-butterfly mon. 6 This is story 149 in the Yamato monogatari, 13 See Money L. Hickman, ‘Views of the Float- a tenth-century compilation that relates ing World’, MFA Bulletin 76 (1978), p. 29. some of the stories that are also in the Ise Since the 1678 book with the two-butterfly monogatari, where this is the twenty-third crest predates the 1693 guide that attributes story. See Tales of Yamato: A Tenth Century Sennojo- with the flower-shaped crest, it Poem-Tale (Mildred M. Tahara, transl.), seems more likely that the latter may have Honolulu 1980, pp. 102-03, 179; Joshua been used by a later generation Sennojo-. M. Mostow et al., The Ise Stories: Ise mono- 14 Clark et al. 2001 (note 3), p. 64. gatari, Honolulu 2010, p. 65-69. The part of 15 I am most grateful to Rosina Buckland for the script that is illustrated above the scene this information. is the only surviving fragment of the play’s 16 Genre Scenes of the Four Seasons in the script. It makes it evident that the play was Tokyo National Museum, inv. no. a-439; adapted from the Yamato monogatari ver- II (Masterpieces of the 出光美術館名品選 sion, probably in the sixteenth century. See Idemitsu Collection, Part 2), exh. cat. Tokyo Takahiro Imaizumi, ‘ (Idemitsu Museum of Arts) 2006, pp. 52-53. 玉 川 千 之 丞「 高 安 通 ひ 」 (On the Early Kabuki 17 See Katz et al. 2018 (note 11), pp. 88-93. と 番 外 曲〈 高 安 Number Titled “Takayasu Kayoi” Played 18 These youths had a characteristic look with by Sennojo Tamagawa)’, To-in a partly shaven area that is visible in front 桐蔭論叢 ronso- 34 (2016), no. 6, pp. 182-83. of the tied knot at the back of the head. 7 In the Heian period, a young woman stayed 19 Joshua S. Mostow et al., A Third Gender: with her parents after getting married. Beautiful Youths in Japanese Edo-Period Her husband would rely on his father- Prints and Paintings (1600-1868), exh. cat. in-law for career assistance and financial Toronto (The Royal Ontario Museum) 2016, maintenance and when, as in this case, p. 12. The label of ‘third gender’ of this cate- the father passed away, the polygynous gory of youths (naturally, not every Japanese customs would allow the young husband boy passed through this phase) serves to to marry another, additional woman. indicate that they constitute a category Mostow 2010 (note 6), p. 69. that falls outside Western gender concepts. 8 Tahara 1980 (note 6), pp. 102-03. 20 Mostow et al. 2016 (note 19), p. 19. 9 (Diary of Lord Matsudaira 21 The previous illustration in the book, on 松平大和守日記 Yamato), last month of Kanbun 1 (1662): pages 5v and 6, see Sato- 1992 (note 5), p. 29. ‘ ’ (‘The 22 Comparable to, for instance, the one on 上 方より下り 玉川千之丞 女かた名人 famous onnagata Sennojo- arrived from the aforementioned Genre Scenes of the Kamigata [the region around Kyoto and Four Seasons scroll in the Tokyo National Osaka]’), in Yasuji Wakatsuki, Museum (note 16), or the scroll in the 近世初期国劇 (Studies in Early Modern Traditional Boston Museum of Fine Arts, see Clark の研究 Theatre), Tokyo 1944, p. 36. et al. 2001 (note 3), pp. 72-73. 10 , ibid., p. 47. See Imaizumi 23 Similar arrangements of the Yoshiwara 河内かよひ 千之丞 2016 (note 6), p. 176. district buildings can be found on the 11 In any case, it is not the crest of the left-hand screen of a pair of screens in Nakamura theatre: a crane until c. 1690 the Idemitsu Museum by the Moronobu and gingko leaves afterwards. Janice Katz follower Morohira 開館十五年記念展図録 et al. (eds.), Painting the Floating World: (The 15th Anniversary Catalogue), coll. Ukiyo-e Masterpieces from the Weston cat. Tokyo (Idemitsu Museum) 1991, Collection, Chicago 2018, p. 88, note 2. pp. 52-53, no. 107 and the left-hand screen

231 the rijksmuseum bulletin

of a pair in the Boston Museum of Fine 34 Each of the eight panels of the reverse paint- Arts, Clark et al. 2001 (note 3), pp. 64-67. ing consisted of three sheets of maniai-shi, 24 See for instance the following examples. measuring approximately 39.6 x 52.7 cm, For Furuyama Moroshige: with a narrow strip measuring 15.2 x 52.7 cm 今 西コレクション iii (Masterpieces from the Imanishi along the bottom edge. 名品展 Collection iii), exh. cat. Kumamoto 35 The painted panels were spray dampened (Kumamoto Prefectural Museum of Art) and laid face-up on two layers of absorbent 1991, p. 16; for Hishikawa Morohira: rayon paper, to allow the degradation pro­ Clark et al. 2001 (note 3), pp. 90-91; for ducts to flow through into the rayon papers. Hishikawa Tomofusa: Motoaki Ko-no, After this, the pigments were consolidated Tadashi Kobayashi (eds.), using a 3% solution of Japanese deer-glue size ニューオータ二美 (New Otani Art Museum), Tokyo 1995 (nikawa) and the gilded areas were treated 術館 ( 8 (Ukiyo-e Paintings in with Japanese seaweed adhesive (funori). 肉筆浮世絵大観 Japanese Collections, vol. 8)), no. 5; for Each panel consisted of four sheets measur- Hishikawa Wao-: ibid., no. 8; for Furuyama ing approximately 30.3 x 52.7 cm of maniai- Moromasa: Shu-go- Asano, Tadashi shi (paper made of the inner bark of the Kobayashi (eds.), (Chiba gampi bush ( Diplomorpha sikokiana)). 千葉市美術館 雁皮 City Museum of Art), Tokyo 1995 ( 36 ‘ ’ (‘handed down from the house 肉筆浮 尾張家伝来 10 (Ukiyo-e Paintings in Japanese of Owari’) and ‘stamt [sic] vom Fürsten 世絵大観 Collections, vol. 10)), no. 15; for Hishikawa von Nagoya’ (‘originates from the Lords Morotane: ibid., nos. 13, 14. of Nagoya’). 25 A hanging scroll with a scene of the play 37 See Patrizia Jirka Schmitz, ‘Felix Tikotin’s Sumidagawa in the collection of the Chiba early years in Germany’, in Jaron City Museum of Art, Asano, Kobayashi Borensztajn (ed.), Ghosts and Spirits 1995 (note 24), no. 11. from the Tikotin Museum of Japanese 26 Methods used: xrf-artax, xrf-Olympus Art – Felix Tikotin: A Life Devoted to Delta, sem-eds, lm, High resolution optical Japanese Art, exh. cat. Leiden (Japan microscope (hirox), uhplc. Museum Sieboldhuis) 2012, p. 46. 27 xrf-Olympus Delta (Geochem-Standard), 38 Ibid., p. 45. carried out by Arie Wallert 13-08-2015; xrf- 39 For instance, the ethnologist and collector artax (Bruker Artax µ-xrf spectrometer, of Japanese art Ernst Grosse (1862-1927) 50kV, 600µA, 120 sec. Mo anode, 0.060 µm visited Japan from 1907 onwards. Fritz capillary lens, no He-flush), carried out by Rumpf (1888-1949) had been imprisoned in Arie Wallert, 08-12-2015. Japan and developed a keen interest in the 28 Olympus Delta Professional xrf, mode Geo- arts. He became a close friend of Tikotin and Chem, 3mm, 40kV/10kV, 60sec., carried accompanied him on his trip to Japan in 1927 out by Judith van der Brugge-Mulder and (see Jirka Schmitz 2012 (note 37), p. 52). The Dionysia Christoforou, 10-01-2018. art historian William Cohn (1880-1961), 29 sem-eds (jeol jsm-5910lv variable pressure a specialist in Japanese painting, travelled scanning electron microscope, equipped to Japan in 1909 and again in 1924 (see with an energy dispersive X-Ray spectro­ Wolfgang Klose, Dr. William Cohn (Berlin scopy detector (eds, Silicon Drift Detector, 1880 – Oxford 1961) Gelehrter Publizist Ultradry, Noran System Seven software, und Advokat fernöstlicher Kunst, http:// Thermo Sientific)), sample no. 233.9(1)_pt1, www.w-ch-klose.de/html/william_cohn. carried out by Ineke Joosten, Cultural html#zurck (consulted 13 January 2019). Heritage Agency of the Netherlands (rce). 40 ‘ ’ (‘eight-fold screen, a pair’). 八折屏風一双 Amsterdam, 01-09-2016. 41 Judging by the background in the 30 Ikuo Hirayama et al., An Illustrated photographs taken by Margarete Dictionary of Japanese-Style Painting Fimmen-Lindig, before 1926, see http:// Terminology, Tokyo 2010, p. 63. www.deutschefotothek.de/documents/ 31 Many thanks to Rosina Buckland for her kind obj/32014606/df_hauptkatalog_0096783 help in identifying the painter. We wrongly and http://www.deutschefotothek.de/ stated another name in an earlier publica- documents/obj/90025898/df_hauptkata- tion: Van Valen and Fitski 2017 (note 1). log_0096785 (consulted 13 January 2019). 32 Tadashi Araki (ed.), 42 Otto Kümmel (intr.), Japansk kunst og 大日本書画名家大艦 (Great Vessel of Japanese Calligraphers and kunsthaandvaerk samlingen Tikotin: udstillet Painters), vol. 2, Tokyo 1934, p. 1847. i det Danske Kunstindustrimuseum, januar-feb- 33 xrf-Artax, carried out by Arie Wallert, ruar 1933, exh. cat. Copenhagen 1933 and 08-12-2015. Otto Kümmel (intr.), Tentoon­stelling van

232 short notice donatello’sa hishikawa role in the school design screen of antonio uncovered rizzo’s virgin and child

vroege Japansche kunst: verzameling Felix Tikotin, exh. cat. Amsterdam 1933. 43 When the political unrest began in Berlin in late February 1933, Tikotin, who was Jewish, was staging an exhibition in Copenhagen. He shipped his collection to the Netherlands and followed it immediately without return- ing to Germany. 44 ‘De conservator zou graag de hand leggen op 2 voorwerpen die in het bezit zijn van de voorzitter: 1º een groot 8 deelig Japansch scherm, dat de kunsthandelaar Tikotin wenscht terug te nemen; het is echter gewenscht het hier te lande te houden’. Board meeting 17 October 1931, Notulen- boek voor de vergaderingen van het Huis­ houdelijk Bestuur en van de Bijzondere Commissies van de Vereniging van Vrienden der Aziatische Kunst, archive vvak 1. 45 Journaal Aankoopfonds Aziatische Kunst vanaf 30 April 1929 - 7 Maart 1936, 12 May 1932, archive vvak 17.

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