Title: Jū ni-kagetsu Nenjū Gyōji Emakimono Eiichi chō (The Twelve Months of the Year Events Picture Scroll by Hanabusa Itchō), Circa 1680-1724. 12 Beautiful Paintings, Lavishly Decorated and Illuminated in the Style of a Nara Emaki. Over Six Meters Long
Author: Attributed to Hanabusa Itchō
Condition: Very Good
An Early to Mid Edo Period, late 17th to early 18th century emakimono handscroll, beautifully hand painted and illuminated, roughly titled Jū ni-kagetsu nendjūgyōji emakimono Eiichi chō, or The Twelve Months of the Year Events Picture Scroll by Hanabusa Itchō.
As the name would indicate, the scroll depicts various Japanese customs, events, and objects associated with the months of the year, with one painting for each event. I took the time to identify most of the following paintings:
The first painting is that of Shōgatsu, New Years Day, and the most important event in the Japanese calendar, where a family might go so far to decorate the porch, household shrine, or ornamental alcove. You can see in this painting the Traditional New Year shimekazari decoration at the entrance to a house, whilst a young child receives a gift.
The second painting is possibly that of Hatsu-uma, and is celebrated in honor of Inari, where festivals are held at shrines to Inari. You can see a scene of revelers off to the shrine, while a merchant is selling trinkets including small statues of Inari.
The third painting is that of a rather popular scene, a Hanami, or flower viewing, featuring picnickers and visitors strolling by to see the cherry blossoms boom.
The fourth painting seems to be that for Higan, the weeklong Buddhist holiday taking place around the spring equinox and is a period of spiritual reflection and honoring ancestors, providing an opportunity to visit the family graves. This painting does not depict any graves, but rather several generations of one family visiting a large tree.
The fifth painting appears to be a depiction of Tango no Sekku, otherwise known as Children’s Day, the festival held to give thanks for the healthy development of youth, with scenes of children playing, and samurai armor on display.
The seventh painting is that of a Bon Odori. Where many people dress in yukata and gather in the local town square or at a shrine to dance in a circle to the rhythm of traditional songs. This originated as a tribute to the souls of the dead but has in most cases diverged from these roots to become more a communal way of enjoying the hot summer nights. The gatherings were also once seen as an excellent opportunity for young, unmarried men and women to mingle and find a partner.
The eighth painting is that of a Tsukimi, or Moon Viewing. Similar to a Hanami, this is a custom that presents the opportunity to savor the beauty of a clear autumn sky illuminated by a full moon.
The ninth and tenth paintings are possibly depicting different scenes of Aki no Higan, being the weeklong Buddhist holiday taking place around the autumn equinox, and just like its spring counterpart, so too is this a period of reflection, with one painting showing flowers being tended to at a possible memorial or grave, and the same generational trio of family amongst the autumn trees.
The 11th painting is a depiction of Shichi-Go-San, where young children are dressed in their finest attire and brought with their families to visit shrines, to give thanks for their growth, and to prayer for continued good health
The 12th and final painting is a depiction of Kotohajime, the custom where people start to prepare for the New Year by thoroughly cleaning their homes. There is also time spend towards preparing seasonal treats such as mochi and more, of which this painting does show mochi being actively prepared.
Each painting has been produced on fine torinoko paper and beautifully decorated with profuse usage of gold sprays to decorate the borders. While the figures are not heavily detailed, they are all uniquely drawn and each have their own lively character, and care has been taken to the linework and details of their vestments and kimono patterns, from the humblest to more elaborate example. Even something as simple as a picnic blanket somehow has considerable technique put into it, not just simply appearing as a flat design, but with substance. The fukinuki yatai technique is used here as well, where we can see beyond the roof of the buildings where individuals may be residing.
This emakimono has been attributed to the Early to Mid Edo Period artist Hanabusa Itchō (1652-1724), bearing his signature and seal(?). Originally called Taga Choko, he studied under Kano Yasunobu in Edo from the age of 15 but was later excommunicated. Not satisfied with the formulaic style of the Kano school at the time, he is said to have studied the Tosa school, Iwasa Matabei, and Hishikawa Moronobu. In 1693 (Genroku 6), he incurred the wrath of the Edo Shogunate and was exiled to Miyakejima. Seven years later he was pardoned and returned to Edo, where he changed his name to Ei Itcho. He excelled in urban genre paintings filled with a stylish artistic style, and was also skilled in haiku and music, making him renowned as a connoisseur of his time. His major works include "Sun Waiting Scroll," "Horse Pulling in the Morning," and "Dance with Cloth Dye."
On note of the attribution, although the paintings are certainly in his bright and stylish manner, and the piece signed “Hanabusa Itcho hitsu”, the artist seal is a bizarre example I have never seen before. It does not appear to be a crudely copied seal, but simply one I do not recognize in the slightly. The wooden box bears several early inscriptions further adding to the stated attribution.
The paintings have been laid down and bound in a scroll for preservation, with a beautiful brocade decorated cover, and there are jikusaki (knobs). There is a wooden box to accompany the scroll, preserving the contents.
One brocade decorated emakimono (picture scroll) on paper, 31.5 x 620 cm full size, 31.5 x 560 cm main paintings. The knobs are not included as part of the measurement.
This emakimono is in very good shape, with minimal wear and rubbing to the brocade fabric. There are a few early crease marks, and minor, scattered staining, more to the crease marks.