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Introduction

Surimono from Osaka and Edo

The Pumpelly Album
May 23 - October 5, 2008

Surimono (literally “printed objects”) are distinguished from polychrome woodblock prints by the presence of a variety of texts integrated into their overall compositions. Privately commissioned and published as announcements, commemorations, or most often as New Year’s greetings bearing poetry, they are characterized by elaborate printing and embossing techniques and the application of metallic dusts and colors on thick paper. The link between text and image in surimono is an important one. By the early 19th century, when these objects were made, the image and the accompanying poem or poems were conceived together in what is now regarded as the classic surimono form. The square size (shikishiban, one sixth of an obōsho sheet, approx. 15 ⅜ × 23 ¼ in.) was nearly standard, and the accompanying poetry was usually kyōka (“crazy verse”), witty 31-syllable waka (court) poems written by members of various poetry groups who subsidized the production of the prints. Whether the poetry referred directly to the print’s visual subject or played upon it through word puns and allusions, the artwork was always infused with visual and verbal meaning and a sensuous beauty meant to be savored and enjoyed by its recipient.

The selections in this exhibition are from a group of 88 rare and beautiful works given to the Museum in 1956 by George Pierce Metcalf (1890–1957). Mr. Metcalf’s wife, Pauline Pumpelly Cabot (1903–1976), was the granddaughter of Raphael Pumpelly (1837–1923), geologist, explorer, and archaeologist. These prints came from a single album, one of two presented as gifts to Pumpelly on his departure from Japan in early 1863, soon after that country opened its doors to visitors from the West. Not only are these some of the earliest prints to leave Japan, but the album’s unique association with Osaka is confirmed through the inclusion of Osaka poets and printmakers whose works are not as well known as those from Edo (modern Tokyo). The album was assembled by Iga no Kurimi (active ca. 1810–1839), who participated in poetry gatherings in both Edo and Osaka. The numerous kyōka poems by Tsurunoya Osamaru (ca. 1751–ca. 1839) and members of his Crane Poetry Group (Tsuru-gawa), as well as the appearance of a nesting crane (tsuru means “crane” in Japanese) emblem on many of the prints, make it clear that his patronage and that of his fellow Osaka poets provided the impetus for the creation of a fair percentage of works in the RISD album. Mostly dated to the 1820s, these prints also point to a collaboration between the poets and Tani Seikō (act. 1822–1831), a masterful blockcutter whose subtle carving and printing skills were enlisted in their production. The specialized division of labor common in the Japanese woodblock printing process was sometimes overlooked in the album. Painters and poets designed some of the surimono with guidance from Tani Seikō, whose personal seal is found on many of these examples. He then carved and printed their designs.

The Museum gratefully acknowledges the research of Dr. Roger S. Keyes, who has studied and published the Pumpelly album on exhibition here.

Selected Objects

Ryuryukyo Shinsai

Fan, Boxes, and Cloth, 1820s

Baien

Mirror and Rouge Cup, ca. 1825-27
No Image Available

Katsushika Hokusai

Illustrated dances of the east: Vol. 2, spring 1802

Yashima Gakutei

Kinko, 1820s

Asaka no Katsumi

Portrait of Tsurunoya as a Papier-mache Doll of a Gidayu Chanter, 1820s

Japanese Edo

Mirror with Design of Pine, Bamboo, and Tortoises, 1800s

Yanagawa Shigenobu

Huang Chuping with a stone Goat (Huang Chuping and the Goat), 1823/1

Yashima Gakutei

Glass Wine Jar, probably made for the Dolls Festival, spring 1822

Hayami Shungyosai II

Grapes, Scissors, and Porcelain Bowl, mid-1820s

Yashima Gakutei

A Chinese Woman with a Box, 1820s

Yashima Gakutei

A Chinese Woman with Spools, 1820s

Baien

Mackerel Sushi, ca. 1825-1827

Yashima Gakutei

Doll on a Stand, probably made for the Doll Festival in 1822

Yanagawa Shigenobu

The Poet Asaka no Katsumi with Companions, probably spring 1823

Mori Shunkei

Paddy Bird on a Crabapple Tree, mid-1820s

Ryuryukyo Shinsai

Lobster and Cup, 1820s

Hayami Shungyosai I

Ichikawa Danjuro VII and Tsurunoya, first lunar month of 1823

Hayami Shungyosai

Courtesan and Attendants, 1823/1

Nagayama Kōin

Cakes Wrapped in Oak Leaves, possibly fifth lunar month of 1822

Yanagawa Shigenobu

Asahina with a Turtle (from a Soga play), 1823/1

Yanagawa Shigenobu

White Horse, 1822

Baien

Pipe and Tobacco Pouch, possibly first lunar month of 1827

Mochizuki no Kagenari

Statue of Buddha and a Lily, mid-1820s

Yanagawa Shigenobu

The Poet Chiyo no Matsuhiko with a Companion, probably spring 1823

Nagayama Kōin

Chrysanthemums, mid-1820s

Nagayama Kōin

Tortoise Carrying the Isle of the Immortals on His Back, mid-1820s

Goshichi Harukawa

Woman by a Circular Window, 1920-1929

Totoya Hokkei

The Emperor Genso Meets His Concubine:Moon (Getsu), early 1820s

Totoya Hokkei

Nankai Plum, 1823

Yashima Gakutei

Fan Ceng and Tomoe Gozen, 1820s

Utagawa Toyokuni

Matsumoto Koshiro V as Banzuin Chobei, 1820s

More objects +

Exhibition Checklist

Surimono from Osaka and Edo : The Pumpelly Album

May 23 - October 5, 2008
View Checklist PDF

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