Printed in Hong Kong TUTTLE PUBLISHING® is a registered trademark of Tuttle Publishing, a division of Periplus Editions (HK) Ltd.Ġ1FM11_Pocket 1FM11_Pocket Jp Dict.indd iiĬONTENTS Japanese–English. ISBN: 978-1-4629-1092-2 (ebook)ĭistributed by: North America, Latin America, and Europe Tuttle Publishing 364 Innovation Drive, North Clarendon, VT 05759-9436 USA. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher. © 2011 by Periplus Editions (HK) Ltd This revised edition © 2011 by Periplus Editions (HK) Ltd All rights reserved. T UT T L E Publishing Tokyo Rutland, Vermont SingaporeĠ1FM11_Pocket 1FM11_Pocket Jp Dict.indd i Martin Revised and Updated by Sayaka Khan & Fred Perry Woman dancer with dragon-crown 16 ĭancer holding coiled snake 19.Pocket Japanese Dictionary Japanese-English English-Japanese Woman dancer touching hair and holding ogi (?) - BM 1906,1220,0.299 Woman with long-handled drumstick - NME, Leiden, 1353-1919, Palmer 357-1 Woman holding broom, mitate of Jittoku 14 Woman holding scroll, Mitate of Kanzan 13 Woman dancer in black over red, long sword 12 Woman dancer with ogi, chrysanthemum-patterned kimono - Drouot 1980, 3, 151 11 10 This naturally also has a bearing on the dating of the designs by Shigenobu II, q.v.įor others of the series, including references to prints in the oban nerimono series, see: Keyes, however, assumes that Shigenobu II only started using this name from 1833 after his teacher died. After his return to Edo, Shigenobu seems to have only used the signature Yanagawa Reisai - probably to distinguish him from his pupil, known earlier as Shigeyama who started using the signature Yanagawa Shigenobu from 1822. Surimono designed during his Osaka period often have poems by poets from that city and, as a great benefit to the quality, were often produced at the Tani Seiko Studio operated by Tani Seikodo Takuboku. 9 The dating of this series of surimono is based on his earliest Osaka publications. One anthology is known for the New Year of 1827, the Kyoka and Records of People, Kyoka jinbutsushi, also published in Edo. The last Edo publication he illustrated was issued in 1822, and the first kyoka collection with his illustrations, Kyoka Poems by 50 Poets, Kyoka gojunin isshu, selected by Ki no Osamaru 8 was published in 1823 in Osaka. Shigenobu resided there from 1822 4 until the spring of 1823 (Nagata, idem), or 1825 (as proposed by Mirviss & Carpenter) 5, 1826 6 or simply the mid-1820s 7 when he returned to Edo. This also explains the addition 'from the Eastern Capital', Toto, to the signature. This design dates from the period Shigenobu lived and worked in Osaka. I believe instead that Shigenobu may have produced the commercial series from 1822/V, initially as oban prints, soon after his arrival in early 1822 (also designing a print later that year commemorating the name change of Arashi Tokusaburo into Arashi Kitsusaburo, 1822/IX, with Hokushu), and the nerimono surimono version only for the New Year of 1823. Indeed, Keyes 3 suggests that this series of surimono was produced at the same time as the festival that took place in 1822/V. Mirviss & Carpenter date this untitled series to VI/1822 2 a rather improbable date for the issue of a surimono series, although Osaka customs may have been different. Some of these prints are, indeed, direct counterparts of the designs in the surimono format. In addition to this series of surimono prints, Shigenobu also designed a similar series in the standard oban format, entitled The Nerimono Festival at Shinmachi, Osaka, Osaka Shinmachi nerimono, all on a yellow ground. This untitled series of dancers is based on the annual Nerimono Festival held in Shinmachi, the licensed quarters in Osaka.
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