Banquet at the Sagamiya Restaurant in Higashiyama Artist: Harukawa Goshichi (Japanese, 1776–1831)

spring 1817, third month (Year of the Ox)

Asian Art

春川五七 東山遊宴 江戸時代


This rare, beautiful, and large surimono is thought to celebrate a banquet in the spring of 1817 at the famous Sagamiya Restaurant in the Higashiyama, or Eastern Hills district, of Kyoto, which can be identified from the scenery and the inscription on the plaque hung above the sliding interior door (fusuma) painted with peonies at right. The artist, Harukawa Goshichi, went to the Kansai area, in and around Kyoto, in the middle of his career, and the impressive print demonstrates his artistic skill and the high craftsmanship present in the western region of Japan at this time. It bears nine haiku (short seventeen-syllable poems)—four by courtesans, three by Kabuki players, and two by the patrons of the print, Tomi Doran and Kippei.

Medium

Surimono: double ō-ban; polychrome woodblock print with brass and silver pigment and gauffrage

Dimensions

sheet: 15 3/16 × 20 1/16 in. (38.5 × 51 cm)

Credit Line

Gift of Virginia Shawan Drosten and Patrick Kenadjian, B.A. 1970

Accession Number

2018.116.7

Geography
Culture
Period

Edo period (1615–1868)

Classification
Disclaimer

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of records is ongoing.

Provenance

Provenance

Charles Mitchell Collection; acquired by Joan B. Mirviss (dealer), New York; sold to Virginia Shawan Drosten and Patrick Kenadjian, Koenigstein im Taunus, Germany, 1998 (on loan to the Yale University Art Gallery, New Haven, Conn., 2017–2018); given to Yale University Art Gallery, New Haven, Conn., 2018
Bibliography
  • Sadako Ohki and Adam Haliburton, The Private World of Surimono: Japanese Prints from the Virginia Shawan Drosten and Patrick Kenadjian Collection (New Haven, Conn.: Yale University Art Gallery, 2020), 77–80, no. 16, ill
  • "Selected Acquisitions," Yale University Art Gallery Bulletin (2018), 105, ill
  • "Acquisitions July 1, 2017–June 30, 2018," Yale University Art Gallery Bulletin: Online Supplement (accessed December 1, 2018), 18
  • Joan B. Mirviss and John T. Carpenter, Jewels of Japanese Printmaking: Surimono of the Bunka-Bunsei Era 1804–1830 (Tokyo: Ota Memorial Museum of Art, 2000), 160–61, no. 115
Object copyright
Additional information

Object/Work type

color woodcuts, surimono

Inscriptions

Kippei:\r\nThe spring rains right into my arm-pillowed dreams\r\n\r\nYatsu:\r\nA night in spring--a dream of the real, sound of water\r\n\r\nTane:\r\nWhat a joy to learn right where I sit, of flowers and wine\r\n\r\nEi:\r\nStaying behind, afterwards I will tell the tale, in the bright-blooming morning after\r\n\r\nIo:\r\nIf only I could remain, just like this, in the springtime capital\r\n\r\n\r\nRikan:\r\nThe untimely, autumnal sound of the fulling block--these spring rains dripping in the night\r\n\r\n\r\nKeisha:\r\nBlossoms frame the raft, the raft in the rain.\r\n\r\nIchiko:\r\nMountain roses--the water flows down; the flowers will stay.\r\n\r\nDoran:\r\nSpring showers--fall right down in the whole day long!\r\n\r\n\r\nAH 2/20/2018\r\n\r\n\r\nAll nine poems here are haiku (made of the shortest 17 syllables)\r\n\r\nPoem 1: 橘平 Kippei\r\n手まくら能 夢に成介里 者類能雨\r\nTemakura no/ yume ni nari nkeri/ haru no ame\r\n\r\n(It has become a dream on my arm pillow, the spring rain)\r\n\r\nPoem 2: 洛東 や徒* Yatsu* from the eastern part of the capital (*Ota reads "su".)\r\n春濃夜や う徒ゝ尓も夢 水能音\r\nHaru no yo ya/ utsutsu nimo yume/ mizu no oto\r\n\r\n(Spring evening, I dreamt half awake, the sound of water.)\r\n\r\nPoem 3: 浪花 太年 Tane from Naniwa (Osaka)\r\n座尓ならふ こ楚嬉し介連 花と酒\r\nZa ni narau/ koso ureshi kere/ hana to sake\r\n\r\n(How delightful I can learn right at the real experience, on flowers and wine!)\r\n\r\nPoem 4: ゑい Ei\r\nのこさ連て 人尓可多るや 花の阿佐\r\nNokosare te/ hiro ni kataru ya/ hana no asa\r\n\r\n(Asked to remain, tell others in the happy morning)\r\n\r\nPoem 5: いを Iwo\r\n其侭尓 暮らし天見たし 京の春\r\nSono mama ni/ kurashite mitashi/ Kyou no haru\r\n\r\n(I wish I could live at the path, the spring in the Capital.)\r\n\r\nPoem 6: 璃寛 Rikan\r\n時那らぬ 砧や春能 夜仕須あ免\r\nToki naranu/ kinuta ya haru no/ yoshizu Ame\r\n\r\n(Unseasonal beating the cloth for washing in the spring, the night rain.)\r\n\r\nPoem 7: 慶舎 Keisha\r\n花尓筏 ゝ尓雨能 希しき可那\r\nHana ni ikada/ ikada ni ame no/ keshiki kakana\r\n\r\n(Blossoms seen from the raft; the raft in rain, what a view.)\r\n\r\nPoem 8: 市紅 Ichikō\r\n山吹や 水八な可れ天 残類可那\r\nYamabuki ya/ mizu wa nagare te/ nokoru kana\r\n\r\n(Japanese rose, the water flows out, but the flowers remain)\r\n\r\nPoem 9: 土卵 Doran\r\n一日盤 とつくりふ連よ 者類能雨\r\nIchinichi (hito to hi?) wa/ tokkuri fure yo/ haru no ame\r\n\r\n(Let it rain whole day, the spring rain.) \r\n\r\n\r\nReference for the Poem 1 and 9: Ota p. 160 (cat. No. 115). But revised\r\nsome by SO. English tentative. 2-12-2018; some transcription revised 2-18-18

Signed

Harukawa Goshichi hitsu; Sealed: Hōshū no in followed by a mark of "Kitsu"; Printer's Seal: Shōfūsha sei

Technical metadata and APIs

IIIF

Open in Mirador

View IIIF manifest

The International Image Interoperability Framework, or IIIF, is an open standard for delivering high-quality, attributed digital objects online at scale. Visit iiif.io to learn more

Linked Art

API response for this object

Linked Art is a Community working together to create a shared Model based on Linked Open Data to describe Art.