Article Abstracts in English

The early canvas mentioned above is the only work by Caillebotte that depicts copies, as is, of ukiyo-e works, Gustave Caillebotte’s Japonisme a subject matter and handling commonly seen in the oeuvres of artists such as Manet, Gauguin and van Gogh. However, his distinctive diagonal compositional form Shigeru Oikawa clearly reveals an influence from ukiyo-e. While Degas and Cézanne were influenced by Hokusai, they did not Th e late 19th century European art world was swept directly copy his works. And yet, many of their works up in the wave of Japonisme triggered by the Paris World reveal Hokusai-type compositional characteristics. Exhibition in 1867. Beyond the well-known artists While the term Japonisme is used broadly and influenced by this artistic trend, such as Manet, Monet, widely, in fact, its content is actually quite varied. In the van Gogh and Gauguin, the ever-widening spread of case of Caillebotte, Japonisme means a diagonal line Japonisme aff ected all aspects of cultural expression. cutting across the composition. From that line expands Gustave Caillebotte (1848–1894) was a lesser-known a perspective space that differs from that of European Impressionist painter influenced by Japonisme. He traditions. And indeed, to Caillebotte, this diagonal line encountered ukiyo-e at the very beginning of his artistic represented the ukiyo-e itself. production. Intérieur de l’atelier avec poêle is the first oil painting listed in his catalogue raisonné. This painting shows two ukiyo-e prints hanging on the wall of a studio, namely Tôkyô girô ichiran [Table of courtesans of Tokyo] Th e Ogura Nazorae Hyakunin Isshu Series by Tsukioka Yoshitoshi (1839–1892) and Imayô kuruwanai and the Tempô Reforms kogane no kame [Golden vase of Yoshiwara] by Utagawa Yoshitora (ca. Bunsei era – c.1888). Both of these works Yukari Hirooka are characterized by the diagonal lines that cut across the composition. Th e Ogura Nazorae Hyakunin Isshu series is a series of Caillebotte’s art works, in turn, are characterized by 100 ôban-size full-color woodblock prints by three artists, this same type of diagonal line-dominated composition. Utagawa Kuniyoshi, Utagawa Hiroshige and Utagawa The post-Renaissance Western European art world was Toyokuni III. The first 50 prints in the series (nos. 1 – dominated by the golden rule of a stable horizon line 50) were the work of Kuniyoshi and Hiroshige, while all that stretches across the center of the composition. What three artists—Kuniyoshi, Hiroshige and Toyokuni III— then, might we ask, brought about Caillebotte’s use of were responsible for the prints in the latter half of the an unstable diagonal line? Wasn’t this the result of his series (nos. 51 – 100). Similarly, the style of the prints in recognition of the difference between unstable ukiyo-e the series diff ered. Th e prints in the fi rst half all have the compositions and Western European aesthetics? upper quarter of their vertical composition set off into a Caillebotte himself said little about his interest in rectangular text area. Th is text area shows the title of the Japanese prints. He was not a self-assertive type but rather series on the right, with the text of one of the Hyakunin the unsung hero of the Impressionists. He did his best to Isshu poems written in the larger section of the rectangular make sure that the art works of his fellow Impressionists frame to the left of the title area. The remaining three- were brought to the world’s attention. To this aim, he quarters of the print is taken up by an image drawn from actively bought works by his young colleagues before they kabuki, jôruri puppet theater or other related subjects that made their debut, and once they were able to make a living the artist somehow related to the particular Hyakunin by selling their paintings, he refrained from buying more Isshu poem, along with a commentary or explanation of himself. Th us he assembled a large collection of early works the image written by Ryûkatei Tanekazu. Th e prints from by young artists. While his will stipulated the donation the latter half of the series have the same top quarter of of those works to the French nation, the government the page set off in a rectangular space, with a double- was only able to receive a portion of the collection, citing framed, double-lobed round fan fi lling the center of that lack of storage and management facilities. The works rectangular area and the title of the series on the right. rejected by the French government were purchased by Th e fan acts as the frame for a kasen-e style pairing of the the Metropolitan Museum of Art, Museum of Fine Arts, Hyakunin Isshu poem text and a picture of the poet. An Boston and other such museums and are now recognized interpretation of the poem written by Ryûkatei Tanekazu as the masterpieces of Impressionism’s nascent period. is on the left of the fan-shaped area. Like the same area on

90 the fi rst 50 prints of the series, the bottom three-quarters of the composition is filled with an image of a subject Th e Two Versions of related to the text of the poem. In addition, while all of Katsushika Hokusai’s Fûryû Genji Uta Garuta the figures in the pictures on the first 50 prints have no (Elegant Genji Waka Poem Playing Cards) identifiable faces, about half of the latter 50 prints have actor portrait images, or images akin to actor portraits. – an overview Previous research on this series dated its production to Satoru Satô around Kôka 3 (1846), in spite of the fact that the Tempô reforms in place at that time prohibited the publication of Katsushika Hokusai’s four ôban-sized Fûryû Genji Uta actor portraits. Garuta (Elegant Genji Waka Poem Playing Cards) are Th is article aims to clarify the reasons behind the actor known in two versions—the edition by Noda Shichibei portraits found in the latter half of the series, and specify and the edition by Izumi-ya Ichibei. Both of their works the production month and year of the series. Th e specifi c are signed with the seal “Katsushika Hokusai ga.” There identification of production dates provides an important are censor seals for the Noda edition for the eighth month tool for our understanding of the relationship between of 1809, and the censor seals for Izumi-ya Ichibei version the promulgation of the succession of reforms during the also remain. period and the publication of ukiyo-e prints. Content-wise, each sheet is divided into six vertical First, the preface, nanushi’in censor seals and artist boxes by five horizontal boxes, and 110 illustrated cards signatures on this series were examined. The change are drawn. Th e ones that remain today were pasted onto of the print style halfway through the production of thick paper, and were actually used as playing cards. Genji the series and the mixing in of actor portrait images playing cards are usually made up of 108 illustrations, but suggests the influence of the Tempô reforms. Next, the there is an illustration from the “Kumogakure (Hidden relationship between the actor portraits in the second Clouds)” roll, not normally pictured, so we can say these half of the series and the kabuki plays being performed at are unique playing cards. the time was examined. This investigation revealed that On the fourth sheet of the Noda edition, depicted some of the actor portraits in the series were of actors below the twenty cards is the picture of Murasaki Shikibu then on stage, some of the pictures depicting two actors in seclusion at Ishiyama-dera temple. Th e Izumi-ya edition included a portrait-likeness of only one of the actors, and utilized the main woodblock from the Noda edition, some of the current kabuki plays of the time featured erased the printing house seal and the picture of Murasaki different actors in the roles than those seen in the print Shikibu at Ishiyama-dera temple, and used different series. An investigation of the actual state of affairs woodblocks for printing colors. Instead of the picture of regarding regulations governing all ukiyo-e prints in Murasakishikibu, the Izumi-ya edition depicts pictures Shichûtorishimariruishû, compilation of all the ofuregaki, of wrappings of the reader’s cards and player’s cards with or official announcements of the day, and other such the title “Genji Playing Cards,” and an advertisement for documents concluded that the fluctuation in the use of Genji Gojû-yo-jô E-zukushi (Complete Pictures of Fifty- actor portraits seen in the Ogura Nazorae Hyakunin Isshu four Chapters of Genji)” is inscribed. We are unable to series was actually the result of the publisher of the series, find a publication with the same title as this, but Genji Ibaya Senzaburô, sensitively reflecting the actions of the Monogatari Ezukushi Taii Shô (An abridgment of Th e Tale magistrate’s offi ce. of Genji and Pictures) by Keisai Eisen, published in 1837, Judging from these findings, investigation of the has been thought to correspond to it. In the publication nanushi’in censor seals, confirmation of the artist records for the same publication, “first printing in 1812” signature, seals of Kuniyoshi and Toyokuni III, theater is recorded, and it has already been pointed out that the records of the day, and comparison of those fi ndings with first printing of Genji Monogatari E-zukushi (Complete the social situation of the time, the author concludes that Pictures of the Tale of Genji) fits this criteria. Perhaps the publication of this print series began in the 4th month Izumi-ya Ichibei needed to buy up the woodblocks of the of Kôka 2 (1845) and was completed in the 12th month Noda edition to avoid troublesome similarities between of Ka’ei 1 (1848). The series was published amidst the Fûryû Genji Uta Garuta and Genji Monogatari E-zukushi. tumultuous eff ects of the Tempô reforms, and thus it is an It is posited that the Izumi-ya edition of the playing important cultural and historical document that reflects cards and Genji Monogatari Ezukushi Taii Shô were the vicissitudes of the day over the course of a single series published at nearly the same time. The first title of the of prints. book was Genji Gojû-yo-jô E-zukushi, and in all likelihood

89 this was sometime in 1836. Th e powdered gold design of the cards imitates the powdered gold backing of the best- selling Tsuru-ya Kiemon version of Nise Murasaki Inaka Genji (Th e Rustic Genji ). The erasure of the picture of Murasaki Shikibu in seclusion at Ishiyama-dera temple probably had something to do with the same illustration being on the fi rst page of Genji Monogatari Ezukushi Taii Shô. Th e waka poetry inscribed on Fûryû Genji Uta Garuta mostly comes from the waka poems which are the source of the chapter titles, but more than a few in Fûryû Genji Uta Garuta are different from those in the commonly known version, so identifying the direct source for each remains a topic for future research. In Kikukawa Eizan’s Azuma Sugata Genji Awase there are illustrations depicted which correspond to those in these playing cards. Published in the latter half of the Kaei Period (1848-1854), Izumi-ya Ichibei’s edition of the Kinchôrô Yoshitora work Shinban Genji Karuta (Genji Playing Cards—New Edition) was the successor work to these playing cards.

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