In the lower left corner of this tall and narrow print two silohettes appear near a small dock. The surface of a pond stretches out behind them, filling much of the pictorial space. The dark form of a house with a traingular, mountain shapped roof rests in the upper register of the print. The lit windows from the house reflect in the calm yet slightly wavy pond.
Complete Illustrations of Yoshiwara Parodies of Kabuki: Courtesans of the Matsubaya (Seirô kabuki yatsushiga tsukushi: Matsubaya no uchi)
This triptych shows courtesans in a garden of Yoshiwara under flowering trees. The inscribed names allow us to identify the women as courtesans of the Matsubaya House, centered on the grand courtesan Yoso’oi (in the central triptych, with the dragon-design obi). Flanking her on either side are two shinzô apprentices, and at the right, two kamuro or child attendants.
The courtesans at left interact with a puppet of the actor Ichikawa Danjûrô VI in his role as Sukeroku. The bearded older man in the center is the villain Hige no Ikyû, Sukeroku’s rival for the affections of the courtesan Agemaki.
Artist Life Dates
Object Creation Date
Medium and Support
oban (large size) nishiki-e (full-color woodblock print) on paper, triptych
Guru Dragpo Votive Plaque, in the shape of a lotus petal
Artist Unknown, Tibet or Nepal
A bas-relief carving made of bone and in the shape of a lotus petal, depicting a wrathful guardian of the Tibetan Buddhist faith. At the base of the "petal" are the tops of mountains, with the waves of the sea visible between them; in the rounded part of the "petal," a border of flames encircles a dynamic image of the bodhisattva Vajrapani in his wrathful form. The background behind Vajrapani is incised with closely spaced wavy lines, again suggesting flames.
A bas-relief carving made of bone and in the shape of a lotus petal, depicting Pehar, a guardian of the Tibetan Buddhist faith, in wrathful form. At the base of the "petal" are the tops of mountains, with the waves of the sea visible between them; in the rounded part of the "petal," a border of flames encircles a dynamic image of Pehar, his garments flowing in the wind as he rides on a snow lion. The background behind Pehar is incised with closely spaced wavy lines, again suggesting flames.
Bodhisattva Amoghapasa (Avalokitesvara of the never-empty noose)
A small bronze figure of Amoghapasa, a Buddhist deity, made by the cire perdue (lost wax) casting method. The challenge to the caster is this case is the top-heaviness of the piece caused by the iconographical requirement for the image to have eight arms; in at attempt to provide some support, he arranging floating scarves to drape all the way to the lotus pedestal.