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The KAWAHARA Keiga Animal, Plant, and Genre Paintings in Siebold's

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The KAWAHARA Keiga Animal, Plant, and Genre Paintings in Siebold's Panel 3: Siebold’s “Japan Museum” Plan and its “Presenting” Japan The KAWAHARA Keiga Animal, Plant, and Genre Paintings in Siebold’s Collection Tae NOFUJI (Translated by Dylan LUERS TODA) Introduction KAWAHARA Keiga 川原慶賀 (1786?-1860?; also known as Toyosuke 登与助) was a Nagasaki painter from the latter half of the Edo period (1603-1867). At least by the Bunka 文化 era (1804-1818), he had received permission to access Dejima,1 and painted Japanese animals, plants, daily life, landscapes, and so on in response to requests from the Dutch mercantile employees who were working on the island: Jan Cock BLOMHOFF, Johan Frederik van Overmeer FISSCHER, and Philipp Franz von SIEBOLD. Keiga used various artistic techniques; detailed animal and plant paintings, monochrome Chinese ink paintings (suibokuga 水墨画), and Nanpin 南蘋-style hanging scrolls are found among his extant works. Insofar as he was a machieshi 町絵師 (town painter), it was necessary for him to be able to paint using a variety of methods because he had to produce works in accordance with customers’ orders. Therefore, when researching Keiga’s works, one must consider what these individuals sought from him. In this presentation I will apply this question to Siebold, and examine the many animal/plant and genre works that Keiga painted for him. 1. The Importance of Paintings to Siebold Siebold collected paintings because he was requested by the Dutch government to carry out a comprehensive survey of Japan, and also had his own goal of publishing Fauna Japonica and Flora Japonica.2 Siebold brought to Japan the works of his predecessors (such as Engelbert KÄMPFER and Carl Peter THUNBERG) as well as consulted and imitated the works of Adam Johann von KRUSENSTERN.3 The painter and naturalist Wilhelm Gottlieb TILESIUS accompanied Krusenstern on his sea voyage, painting pictures along the way. To Krusenstern works were added both a three-volume diary of his voyage around the world, as well as a separate volume of many illustrations including animals, plants, and people’s visages and lives. Compared to works published on Japan before Siebold (such as Kämpfer’s A History of Japan and Thunberg’s Flora Japonica), like Krusenstern’s works there are many illustrations, some of which are beautifully hand-colored. For Siebold to create books on Japan that surpassed those which came before, it was necessary for him to collect precise paintings that could be used to create book illustrations. 2. Keiga’s Animal and Plant Paintings The illustrations in Siebold’s books were based on specimens, original paintings by Japanese painters and Carel Hubert de VILLENEUVE, illustrations found in Japanese books, and so on. While in Japan Siebold thought that it would be difficult to make progress in his research on the country The KAWAHARA Keiga Animal, Plant, and Genre Paintings in Siebold’s Collection 291 just by having Japanese painters create works for him. Therefore, he requested to the Governor- General of the Dutch East Indies that a painter be dispatched. In 1825 Villeneuve came to Japan, as did Heinrich BÜRGER, who would work as his research assistant. While Siebold had planned to return home in 1828, he did not do so until 1830 due to the so-called Siebold incident. Even after Siebold left Japan, his successor Bürger continued to send him specimens and so on, assisting Siebold in his research. In a December 1st, 1831 letter remaining at the Brandenstein Castle that was sent from Bürger (on Dejima) to Siebold (in Leiden), the following passage can be found:4 Gleich nach Ihrer Abreise von Japan, habe ich mich wie ich bereits im vorigem Jahre Ihnen geschrieben habe, mit Lust und Liebe an die Fische gemacht, mit dem gewünschtem Erfolge dass jetzt bereits 400 Species, nach dem Leben durch Toyoske gezeichnet sind, wovon bereits 200 mit ausführlichen Beschreibungen von mir versonden sind, worunter Sie wahrscheinlich viel Neues finden werden. Ich habe mich punktlich an Ihre Instruction gehalten, und Alles bekannt oder unbekannt zeichnen zu lassen, um auf diesem Wege ein Ganzes zu liefern von allem was die japansche Seen und Flüsse an Fische ausliefert. In other words, immediately after Siebold departed Japan, Bürger began working on a survey of fish, and had Keiga make life-like sketches of 400 kinds of them. He then sent 200 of these to Siebold along with detailed explanations. Bürger accurately understood Siebold’s instructions, and had Keiga sketch both already known and yet unknown fish. These are found along with Bürger’s fish survey memos in the part of the Siebold collection held at the National Museum of Natural History in Leiden. While these fish illustrations do not contain Keiga’s seal or signature, from this letter it can be gathered that Keiga painted them.5 In another extant letter from Bürger to Siebold written a year earlier,6 the following appears: Was meine naturhistorische Untersuchungen anbetrift so habe anbetrifft ich mit Liebe und Eifer direkt nach der Abreise der Schiffe mich uber die Fische gemacht, sechshunderd species sind mir bis jetzt bekannt geworden, und beschrieben, wo von gute treue Abbildungen von das Erste hundert mit Beschreibungen sind übergesunden. This passage states that already Bürger was aware of 600 types of fish, had someone paint them, and sent 100 accurate illustrations of them to Siebold along with explanations. While the name of the painter is not written, based on the previous year’s correspondence, it can be surmised that it was Keiga. I would like to bring our attention to Bürger’s evaluation of these illustrations as “accurate.” Regarding crustaceans, Bürger wrote the following: Die Krustazeen habe ich ebenfalls wie die Fische begonnen zu beschreiben und zeichnen zu lassen, vooral im letzten Jahre wo die Fisch einigzins seltener für mich geworden sind, Sie erhalten davon in diesem Jahre die erste Lieferung von 25 Beschreibungen mit Zeichnungen, welche Ihnen nach Ihrem Briefe zu ertheilen, wo sie mich noch darauf aufmerksam machen, sehr angenehm seyn wird. Die durch Ihnen in Japan gefundenen 80 Species Crustacean habe ich bereits auf 120 gebracht wovon de Duplicate, sowohl getrocknet als auf Druck in diesem Jahre versonden werden. Ich werde im folgenden Jahre damit fortfahren, und auch hier alles 292 International Symposium Proceedings ̶ Siebold’s Vision of Japan bekannt oder unbekannt durch Toyoske zeichnen zu lassen, und hoffe im nächstem Jahre Ihnen die wiederum eine Lieferung von 50 Species gezeichnet und beschrieben zukommen zu lassen. Here, Bürger states that he would like to send duplicates and samples of the crustaceans he had found, have Keiga draw them, and send Siebold illustrations of and explanations regarding 50 kinds next year as well. Regarding reptiles, he states: Reptilien erhalten Sie in diesem Jahre alles was nur unter meinen Händen gekommen ist, und wahrscheinlich eine ziemlich vollständige Versammlung; doch habe ich vergessen einige Notizen über die Farbe der Individuen beyzufügen, welches ich im nächstem Jahre sicher thun werde, wo ich mich ausführlich mit Reptilien beschäftigen werde, um von dem dieselben im Falle Sie Toyoske zeichnen kann gleich die Fische und Crustacean, jährliche Lieferungen von Zeichnungen und Beschreibungen zu versenden. As Siebold asked, Bürger had Keiga create illustrations of reptiles, and was planning on sending them and their explanations yearly to Siebold. While no artist seals or signatures can be found on the crustacean (shrimp, crab, etc.) and reptile images held at the National Museum of Natural History in Leiden, from the above correspondence it can be gathered that their painter was Keiga. However, mammal images were a different story: An Säugetiere: endlich, finden Sie bei der diesjährig Besendung die zwey Spezies Pteromys in duplo, einige seltene Chiropteren, als eine Species Phinolophus, die ich glaube, noch nicht in Ihrer Versammlung gesehen zu haben, und eine Var: von Ihres Condylura Japonica, auch vielleicht einige neue Meuse; Ich habe alles versonden und Villeneuwe hat auf sich genommen Ihnen von meiner diesjährigen Versendung Abschriften noch an Bord zu machen, und solche mit diesem Brief zu versenden. Here, Bürger is promising to send to Siebold two types of flying squirrels and some rare bats (which were all not included in Siebold’s collection), a new type of rat, and so on. Additionally, he states that Villeneuve will paint all of them, and send these reproductions along with this letter in the luggage on this year’s boat. In other words, Villeneuve painted the mammals. These illustrations are also held at the National Museum of Natural History in Leiden. Some include Villeneuve’s signature, and they are of a different style than that employed by Keiga. Of course, Keiga did paint some mammals. While they are colored carefully and shaped nicely, they lack accuracy in the details, such as hair and claw growth, muscle shape, and so on. In a report Siebold sent to the Governor-General of the Dutch East Indies dated December 2nd, 1825, he writes that Villeneuve was asked to provide pictures that the Japanese painter could not paint due to lack of skill.7 In other words, it appears that Siebold did not take a liking to Keiga’s mammal pictures. Taking the above into account and examining the extant pictures of Keiga and Villeneuve alongside each other, it can be seen that the subjects of their drawing were different and that roles were divided between them. This division of roles matches the following descriptions found in the “Pictures” section of the “List of Accounts Created in Japan Between 1823 and 1828,” which was attached to a report that Siebold sent to the Governor-General of the Dutch East Indies.8 The KAWAHARA Keiga Animal, Plant, and Genre Paintings in Siebold’s Collection 293 39 12 Portraits of Japanese people: Created by Mr.
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