COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
AIC_.1949.31
amicoid
AIC_.1949.31
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Ippitsusai Buncho
crn
Ippitsusai Buncho
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Dates/Places:
Japanese; fl. c.1755-1790 Asia,East Asia,Japan
cdt
Japanese; fl. c.1755-1790 Asia,East Asia,Japan
Creator Dates/Places
false
Creator Name-CRT:
Ippitsusai Buncho
crt
Ippitsusai Buncho
Creator Name-CRT
false
Title:
White chrysanthemums and pinks in a black vase
otn
White chrysanthemums and pinks in a black vase
Title
false
Title Type:
preferred
ott
preferred
Title Type
false
View:
full view
rid
full view
View
false
Creation Date:
c. 1765/70
oct
c. 1765/70
Creation Date
false
Creation Start Date:
1765
ocs
1765
Creation Start Date
false
Creation End Date:
1770
oce
1770
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:
Hosoban; 33.0 x 15.0 cm.
met
Hosoban; 33.0 x 15.0 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:
1949.31
ooa
1949.31
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:
UNSIGNED
oin
UNSIGNED
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:
The 'flowers of autumn' (akigusa), a principal motif in Japanese art and literature, include chrysanthemums and pinks. Here they are deftly arranged off center in a vase whose shape suggests that it may be a treasured Chinese metal import. The matte jet black of the vase provides a sophisticated foil for both the pure white chrysanthemums and the colorful dappled pinks, whose hue is echoed in the square carved-lacquer (?) stand underneath the vase. A sharp diagonal separates the background from the horizontal plane on which the vase stands, implying that we are looking down from above; perhaps the mustard yellow horizontal is meant to suggest the low shelf of a tokonoma, where, of course, flowers would normally be displayed. One can imagine this tastefularrangement lovingly created for the admiration of fellow sophisticates at some autumn tea gathering.In assigning the print to Buncho we are simply following the traditional attribution for no flower pints of this type bearing his signature are known. Perhaps early critics detected in it the same quiet, rather astringent quality sometimes found in Buncho's designs of Kabuki actors of female roles (onnagata). If the print was designed by another professional ukiyo-e artist, possible candidates would be Suzuki Harunobu, Kitao Shigemase, or Isoda Koryusai.On the other hand, in subject matter and execution the print bears a resemblance to certain calendar prints designed by amateurs in 1765 and 1766- for instance, the Pot of Pinks by Hoshi, which has a calendar marks for 1765 printed around the body of the pot (see 'The Actor's Image' catalogue, fig. 14.1, p.76). Though the present print bears no calendar marks, it is elaborately embossed to bring out the petals of the white chrysanthemums and to suggest a floral decoration on the black vase. This is typical of the technical experimentation and meticulous workmanship of the few years following 1765, when commercial full-color printing was new.
cxd
The 'flowers of autumn' (akigusa), a principal motif in Japanese art and literature, include chrysanthemums and pinks. Here they are deftly arranged off center in a vase whose shape suggests that it may be a treasured Chinese metal import. The matte jet black of the vase provides a sophisticated foil for both the pure white chrysanthemums and the colorful dappled pinks, whose hue is echoed in the square carved-lacquer (?) stand underneath the vase. A sharp diagonal separates the background from the horizontal plane on which the vase stands, implying that we are looking down from above; perhaps the mustard yellow horizontal is meant to suggest the low shelf of a tokonoma, where, of course, flowers would normally be displayed. One can imagine this tastefularrangement lovingly created for the admiration of fellow sophisticates at some autumn tea gathering.In assigning the print to Buncho we are simply following the traditional attribution for no flower pints of this type bearing his signature are known. Perhaps early critics detected in it the same quiet, rather astringent quality sometimes found in Buncho's designs of Kabuki actors of female roles (onnagata). If the print was designed by another professional ukiyo-e artist, possible candidates would be Suzuki Harunobu, Kitao Shigemase, or Isoda Koryusai.On the other hand, in subject matter and execution the print bears a resemblance to certain calendar prints designed by amateurs in 1765 and 1766- for instance, the Pot of Pinks by Hoshi, which has a calendar marks for 1765 printed around the body of the pot (see 'The Actor's Image' catalogue, fig. 14.1, p.76). Though the present print bears no calendar marks, it is elaborately embossed to bring out the petals of the white chrysanthemums and to suggest a floral decoration on the black vase. This is typical of the technical experimentation and meticulous workmanship of the few years following 1765, when commercial full-color printing was new.
Context
false
Related Image Identifier Link:
AIC_.E19732.TIF
ril
AIC_.E19732.TIF
Related Image Identifier Link
false