COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1925.2366
amicoid
AIC_.1925.2366
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Katsukawa, Shunsho
crn
Katsukawa, Shunsho
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japanese; 1726-1792 Asia,East Asia,Japan
cdt
Japanese; 1726-1792 Asia,East Asia,Japan
Creator Dates/Places
false
Creator Name-CRT:
Katsukawa Shunsho
crt
Katsukawa Shunsho
Creator Name-CRT
false
Title:
Plants, porcelain bowl, and glass goblet
otn
Plants, porcelain bowl, and glass goblet
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
full view
rid
full view
View
false
Creation Date:
c. 1789
oct
c. 1789
Creation Date
false
Creation Start Date:
1784
ocs
1784
Creation Start Date
false
Creation End Date:
1794
oce
1794
Creation End Date
false
Materials and Techniques:
Woodblock print.
omd
Woodblock print.
Materials and Techniques
false
Classification Term:
Woodblock
clt
Woodblock
Classification Term
false
Creation Place:
Asia,East Asia,Japan
ocp
Asia,East Asia,Japan
Creation Place
false
Dimensions:
Long surimono; 19.0 x 53.0 cm
met
Long surimono; 19.0 x 53.0 cm
Dimensions
false
AMICA Contributor:
The Art Institute of Chicago
oon
The Art Institute of Chicago
AMICA Contributor
false
Owner Location:
Chicago, Illinois, USA
oop
Chicago, Illinois, USA
Owner Location
false
ID Number:
1925.2366
ooa
1925.2366
ID Number
false
Credit Line:
The Art Institute of Chicago, The Clarence Buckingham Collection
ooc
The Art Institute of Chicago, The Clarence Buckingham Collection
Credit Line
false
Inscriptions:
SIGNATURE: Shunsho gaARTIST'S WRITTEN SEAL (kao), here printed: Yu(?)
oin
SIGNATURE: Shunsho gaARTIST'S WRITTEN SEAL (kao), here printed: Yu(?)
Inscriptions
false
Rights:
orl
<a href="http://www.artic.edu/aic/rights/main.rights.html"target="_new">http://www.artic.edu/aic/rights/main.rights.html</a>
Rights
false
Context:
Unusual among Shunsho's prints is this elegant still life of autumn plants in a porcelain bowl with an imported Western glass goblet. Though more usually considered a summer flower, here the morning glory twines around susuki, a kind of pampas grass and one of the 'seven plants of autumn' (aki no nanakusa). The bowl is of brightly enamelled Imari porcelain, with a design of fanciful 'Chinese lions' (shishi) and red peonies in alternating cartouches. On the surface of the water floats a red lacquer sake cup decorated with the character kotobuki (long and happy life). The printing was done with extraordinary delicacy and care to suggest the stems of the plants seen through the water in the bowl and the edges of the leaves seen through the glass goblet. Still life is an uncommon subject for prints of this period, but of course Shunsho's paintings of beautiful women contain many minutely rendered objects and accessories.Surimono were prints privately published in small editions for distribution among friendsor artistic or intellectual coteries. They were intended as festive (often New Year) greetings, invitations to private concerts or other performances, or mementos of some special occasion. Professional artists were commissioned to supply a design appropriate to a text, often a poem, and the whole was printed on luxuriously thick paper using the most refined color-printing techniques. For long surimono, the text was printed on the top half of the sheet-which is missing from this print.Quite possibly, however, the print was issued to commemorate an early autumn gathering organized by some cultivated person of advanced years (hence the 'felicitous long life' on the sake cup).Though there is no text, it is possible to date the print fairly exactly from the form of the signature and seal. Only in 1789 did Shunsho combine a signature in wide 'Teika' style (which he used from the New Year of 1789 until his death) with the dramatically curving kao seal (which he abandoned by the New Year of 1790). Long surimono from the 1780s-by Shunsho, Torii Kiyonaga, and Kitagawa Utamaro-have survived in very small numbers, and this is the only impression of the design currently known.
cxd
Unusual among Shunsho's prints is this elegant still life of autumn plants in a porcelain bowl with an imported Western glass goblet. Though more usually considered a summer flower, here the morning glory twines around susuki, a kind of pampas grass and one of the 'seven plants of autumn' (aki no nanakusa). The bowl is of brightly enamelled Imari porcelain, with a design of fanciful 'Chinese lions' (shishi) and red peonies in alternating cartouches. On the surface of the water floats a red lacquer sake cup decorated with the character kotobuki (long and happy life). The printing was done with extraordinary delicacy and care to suggest the stems of the plants seen through the water in the bowl and the edges of the leaves seen through the glass goblet. Still life is an uncommon subject for prints of this period, but of course Shunsho's paintings of beautiful women contain many minutely rendered objects and accessories.Surimono were prints privately published in small editions for distribution among friendsor artistic or intellectual coteries. They were intended as festive (often New Year) greetings, invitations to private concerts or other performances, or mementos of some special occasion. Professional artists were commissioned to supply a design appropriate to a text, often a poem, and the whole was printed on luxuriously thick paper using the most refined color-printing techniques. For long surimono, the text was printed on the top half of the sheet-which is missing from this print.Quite possibly, however, the print was issued to commemorate an early autumn gathering organized by some cultivated person of advanced years (hence the 'felicitous long life' on the sake cup).Though there is no text, it is possible to date the print fairly exactly from the form of the signature and seal. Only in 1789 did Shunsho combine a signature in wide 'Teika' style (which he used from the New Year of 1789 until his death) with the dramatically curving kao seal (which he abandoned by the New Year of 1790). Long surimono from the 1780s-by Shunsho, Torii Kiyonaga, and Kitagawa Utamaro-have survived in very small numbers, and this is the only impression of the design currently known.
Context
false
Related Image Identifier Link:
AIC_.E19774.TIF
ril
AIC_.E19774.TIF
Related Image Identifier Link
false