Koto Sadamura
定村来人（さだむら こと）
Visiting Researcher in the Department of Asia, British Museum
大英博物館アジア部客員研究員
Ph.D. (Interdisciplinary Cultural Studies, University of Tokyo 東京大学 総合文化研究科 超域文化科学専攻)
日本美術史、幕末明治、河鍋暁斎研究
Visiting Researcher in the Department of Asia, British Museum
大英博物館アジア部客員研究員
Ph.D. (Interdisciplinary Cultural Studies, University of Tokyo 東京大学 総合文化研究科 超域文化科学専攻)
日本美術史、幕末明治、河鍋暁斎研究
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Papers by Koto Sadamura
The British Museum Research Repository: https://doi.org/10.48582/2xpe-hg29
「近世と近代の接続点 ―『暁斎画談』と「古今」の世界観」『文化・情報の結節点としての図像論文集』（国際日本文化研究センター編、晃洋書房、2021年3月）85～97頁。
「河鍋暁斎とイソップ物語 ― 1870年代における新たな試みと展開」『浮世絵芸術』178号、国際浮世絵学会、2019年7月、5-33頁。
Throughout the 1870s Kawanabe Kyôsai produced numerous Aesop’s Fables-related images in various media. These works include: 23 illustrations in the Tsûzoku Isoppu monogatari of 1873; 12 prints (containing 24 images) in the polychrome woodblock series Isoho monogatari no uchi published in December 1873 (Meiji 6) and in January 1875 (Meiji 8); three prints in his Kyôsai rakuga polychrome woodblock series published in 1875 (Meiji 7); illustrations for a textbook Shûshin setsuyaku dated ca. 1878 (Meiji 11), which was followed by a group of 14 paintings. In 1881 (Meiji 14) he returned to textbook illustration production with images published in the Shôgaku shûshinsho.
Kyôsai changed the “kyô” character in his name from 狂斎 to 暁斎 the year after his 1870 (Meiji 3) arrest for a painting which the authority claimed to be insulting an important governmental official. This character change was as if to mark a new start in his career. It would not be an overstatement to say that he walked side by side with Aesop’s Fables for the next close to decade, as he established his fame through successes both in Japan and overseas by the beginning of the 1880s. Kyôsai seems to have discerned the huge potential for expanding his own painterly world in this classic that was at once foreign, and at the same time, one with a close affinity to his own familiar cultural realm.
The Thomas James English translation of Aesop’s Fables of 1848 was one of the source works for Tsûzoku Isoppu monogatari. James’ book includes more than 100 woodcut illustrations, which became an important pictorial model of Western pictures for Kyôsai. His two Aesop’s Fables polychrome print series show Kyôsai adding a comic edge to fable imagery, thus revealing how he internalized this rich trove of foreign source material by bringing it into his own creative realm. Aesop’s Fables, particularly the episode of “The Vain Jackdaw”, and Kyôsai’s painting series can be seen as playing a major role in Kyôsai’s establishment of the crow imagery that would become extremely important in his career and oeuvre.
Very few previous studies have organized the entirety of Kyôsai’s Aesop’s Fables-related works and positioned them within his oeuvre. This article includes an examination of the series of paintings on these themes that have not yet been fully studied as it considers three focal issues within the role played by Aesop’s Fables in Kyôsai’s maturation as a painter, namely, how he studied and used Western book illustrations, created comic images of the fables, and established his own crow pictorial theme.
「天理大学附属天理図書館蔵 河鍋暁斎「伊蘇普物語之内」新出二図」『暁斎』127号、河鍋暁斎記念美術館、2019年3月、37～42頁。
展覧会「これぞ暁斎！ゴールドマン・コレクション」章解説（東京新聞、2017年）
「河鍋暁斎のパトロン勝田家をめぐる新聞記事および広告―「豪商勝田家の顛頽話し」―」『暁斎』121号、河鍋暁斎記念美術館、2016年12月、37～41頁。
「《暁斎楽画十一号》「或喇叭の者とりこになつて」 ― 図像の典拠となった『イソップ物語』挿絵と上野戦争」『暁斎』120号、河鍋暁斎記念美術館、2016年9月、18-24頁。
「河鍋暁斎筆《見立七福神之内 花見弁天図》に関する一考察 ― もうひとつの田鶴追善図という可能性について」『暁斎』120号、河鍋暁斎記念美術館、2016年9月、29-34頁。
「ともに笑う――河鍋暁斎の春画」『暁斎』119号、河鍋暁斎記念美術館、2016年5月20日、33-38頁。
「河鍋暁斎の筆禍事件と春画――暁斎評価の変遷との関わりにおいて」『文化資源学』第13号、「春画と日本社会」特集、文化資源学会、2015年6月30日、163~178頁。
「新たに見出された暁斎作品：国立ギメ東洋美術館所蔵、河鍋洞郁作《竹生島詣》」『暁斎』116号、河鍋暁斎記念館美術館発行、2015年3月、14～20頁。
https://www.harvard-yenching.org/features/nineteenth-century-ukiyo-e-woodblock-prints-time-landscape-space-historical-imagery
Kyōsai, Warabi: Kawanabe Kyōsai Memorial Museum, 25 January 2015, 32-36.
「河鍋暁斎《伊蘇普物語之内》の制作年について――イスラエル・ゴールドマン・コレクション蔵の14図から分かること」『暁斎』115号、河鍋暁斎記念美術館、2015年1月25日、32-36頁。
Ukiyo-e Art, no. 169, Tokyo: International Ukiyo-e Society, 20 January 2015, 5-30.
「イスラエル・ゴールドマン氏所蔵 田鶴追善摺物帖《幾世かがみ》――《地獄極楽めぐり図》関連作品の翻刻と解題」『浮世絵芸術』169号、国際浮世絵学会、2015年1月20日、5-30頁。
This article introduces the surimono album Ikuyo Kagami in the Israel Goldman Collection. The album was made in 1869 (Meiji 2) to be privately distributed to commemorate Tatsu who died at the age of 14 on the 10th day of the 3rd month of the same year. Tatsu was the daughter of the haberdashery wholesale merchant Katsuta Gohei of Ōdenmachō, Nihonbashi. The album consists of six sheets, including a silhouette of Tatsu’s profile, her farewell poem, and pictures by Kawanabe Kyōsai, Shibata Zeshin and Hasegawa Settei. In addition, there are 55 memorial poems written by the Katsutas’ relatives and members of their immediate circle, including the kabuki actor Onoe Kikugorō V, who was favored by and given the patronage of the family. The album, which appears to be unique, was formerly in the collection of the Parisian art dealer Siegfried Bing. This article transcribes the poems and other texts of the album, and introduces their contents, while also examining the connection between the Katsuta family, the three artists and those who contributed poems.
Ikuyo Kagami is related to one of Kyōsai’s masterpieces, a painted album of Jigoku gokuraku meguri zu (A Journey around Hell and Paradise). Memorial works for Tatsu, which include Jigoku gokuraku meguri zu along with a handscroll of the same title and a hanging scroll Hina-matsuri, are all painted by Kyōsai alone (with the exception of the inner box for Jigoku gokuraku meguri zu which was decorated by Zeshin), and were all created for the deceased’s family members. Conversely, an important feature of the Ikuyo Kagami is the involvement not only of Kyōsai, but of other artists such as Zeshin and Settei, and those who contributed memorial texts. The participation of the people related to the Katsuta family, its production within the social context surrounding that family, and the fact that it was distributed outside the immediate family circle, make it very different from the other related works.
The woodblock printing reproduction of Tatsu’s handwritten poem and pictures in Ikuyo Kagami, which was probably produced for distribution to family members and close friends, reminds one of the famous example of Tsuyuhime, daughter of Ikeda Kanzan the daimyō of the Inaba-Wakasa Domain, who died in 1822 (Bunsei 5) at the age of 6. It is highly likely that Ikuyo Kagami was produced with the full awareness of the earlier memorial works that reflected the broad network of Kanzan as a member of the cultured elite. The image of Tatsu was thus conflated with that of Tsuyuhime – talented, virtuous, greatly loved and grieved. Other examples of a wealthy patron’s memorial to a deceased child, taking form as a woodblock printed deluxe edition gift volume can be seen in Kumanaki kage (Clear Shadows) published in 1867 (Keiō 3) and Katsura no kage (Shadows of A Katsura Tree), published in 1872 (Meiji 5), both contemporaneous with Ikuyo Kagami.
This article also clarifies that Ikuyo Kagami and Jigoku gokuraku meguri zu are closely connected to Kumanaki kage. In Kumanaki kage, Tatsu and six of her family members appear, and thus we know about the human network of the Katsuta family’s cultural activities. Furthermore, the silhouette image of Tatsu that appears in Ikuyo Kagami and on the inner box of Jigoku gokuraku meguri zu can be found in Kumanaki kage, which precedes those two. We can thus consider Ikuyo Kagami within the context of Edo period memorials of children such as the memorial project for Tsuyuhime and Kumanaki kage, and also see it as an interesting example that provides evidence of the trend for silhouette portraits as memorial images in the latter half of the 19th century.
「ハーヴァード・イェンチン図書館蔵 河鍋暁斎《伊蘇普物語之内》新出六図」、『暁斎』114号、河鍋暁斎記念美術館、2014年10月26日、21-27頁。
「明治の画譜『暁斎画談』――近世絵本文化からの連続と、新しい時代を迎えての展開」、国際浮世絵学会『浮世絵芸術』166号、2013年7月、20-37頁。
「展覧会カタログ評 「江戸の粋・明治の技 柴田是真の漆×絵」展」、『比較文學研究』、東大比較文學會発行、96号、2011年6月、151-156頁。
The British Museum Research Repository: https://doi.org/10.48582/2xpe-hg29
「近世と近代の接続点 ―『暁斎画談』と「古今」の世界観」『文化・情報の結節点としての図像論文集』（国際日本文化研究センター編、晃洋書房、2021年3月）85～97頁。
「河鍋暁斎とイソップ物語 ― 1870年代における新たな試みと展開」『浮世絵芸術』178号、国際浮世絵学会、2019年7月、5-33頁。
Throughout the 1870s Kawanabe Kyôsai produced numerous Aesop’s Fables-related images in various media. These works include: 23 illustrations in the Tsûzoku Isoppu monogatari of 1873; 12 prints (containing 24 images) in the polychrome woodblock series Isoho monogatari no uchi published in December 1873 (Meiji 6) and in January 1875 (Meiji 8); three prints in his Kyôsai rakuga polychrome woodblock series published in 1875 (Meiji 7); illustrations for a textbook Shûshin setsuyaku dated ca. 1878 (Meiji 11), which was followed by a group of 14 paintings. In 1881 (Meiji 14) he returned to textbook illustration production with images published in the Shôgaku shûshinsho.
Kyôsai changed the “kyô” character in his name from 狂斎 to 暁斎 the year after his 1870 (Meiji 3) arrest for a painting which the authority claimed to be insulting an important governmental official. This character change was as if to mark a new start in his career. It would not be an overstatement to say that he walked side by side with Aesop’s Fables for the next close to decade, as he established his fame through successes both in Japan and overseas by the beginning of the 1880s. Kyôsai seems to have discerned the huge potential for expanding his own painterly world in this classic that was at once foreign, and at the same time, one with a close affinity to his own familiar cultural realm.
The Thomas James English translation of Aesop’s Fables of 1848 was one of the source works for Tsûzoku Isoppu monogatari. James’ book includes more than 100 woodcut illustrations, which became an important pictorial model of Western pictures for Kyôsai. His two Aesop’s Fables polychrome print series show Kyôsai adding a comic edge to fable imagery, thus revealing how he internalized this rich trove of foreign source material by bringing it into his own creative realm. Aesop’s Fables, particularly the episode of “The Vain Jackdaw”, and Kyôsai’s painting series can be seen as playing a major role in Kyôsai’s establishment of the crow imagery that would become extremely important in his career and oeuvre.
Very few previous studies have organized the entirety of Kyôsai’s Aesop’s Fables-related works and positioned them within his oeuvre. This article includes an examination of the series of paintings on these themes that have not yet been fully studied as it considers three focal issues within the role played by Aesop’s Fables in Kyôsai’s maturation as a painter, namely, how he studied and used Western book illustrations, created comic images of the fables, and established his own crow pictorial theme.
「天理大学附属天理図書館蔵 河鍋暁斎「伊蘇普物語之内」新出二図」『暁斎』127号、河鍋暁斎記念美術館、2019年3月、37～42頁。
展覧会「これぞ暁斎！ゴールドマン・コレクション」章解説（東京新聞、2017年）
「河鍋暁斎のパトロン勝田家をめぐる新聞記事および広告―「豪商勝田家の顛頽話し」―」『暁斎』121号、河鍋暁斎記念美術館、2016年12月、37～41頁。
「《暁斎楽画十一号》「或喇叭の者とりこになつて」 ― 図像の典拠となった『イソップ物語』挿絵と上野戦争」『暁斎』120号、河鍋暁斎記念美術館、2016年9月、18-24頁。
「河鍋暁斎筆《見立七福神之内 花見弁天図》に関する一考察 ― もうひとつの田鶴追善図という可能性について」『暁斎』120号、河鍋暁斎記念美術館、2016年9月、29-34頁。
「ともに笑う――河鍋暁斎の春画」『暁斎』119号、河鍋暁斎記念美術館、2016年5月20日、33-38頁。
「河鍋暁斎の筆禍事件と春画――暁斎評価の変遷との関わりにおいて」『文化資源学』第13号、「春画と日本社会」特集、文化資源学会、2015年6月30日、163~178頁。
「新たに見出された暁斎作品：国立ギメ東洋美術館所蔵、河鍋洞郁作《竹生島詣》」『暁斎』116号、河鍋暁斎記念館美術館発行、2015年3月、14～20頁。
https://www.harvard-yenching.org/features/nineteenth-century-ukiyo-e-woodblock-prints-time-landscape-space-historical-imagery
Kyōsai, Warabi: Kawanabe Kyōsai Memorial Museum, 25 January 2015, 32-36.
「河鍋暁斎《伊蘇普物語之内》の制作年について――イスラエル・ゴールドマン・コレクション蔵の14図から分かること」『暁斎』115号、河鍋暁斎記念美術館、2015年1月25日、32-36頁。
Ukiyo-e Art, no. 169, Tokyo: International Ukiyo-e Society, 20 January 2015, 5-30.
「イスラエル・ゴールドマン氏所蔵 田鶴追善摺物帖《幾世かがみ》――《地獄極楽めぐり図》関連作品の翻刻と解題」『浮世絵芸術』169号、国際浮世絵学会、2015年1月20日、5-30頁。
This article introduces the surimono album Ikuyo Kagami in the Israel Goldman Collection. The album was made in 1869 (Meiji 2) to be privately distributed to commemorate Tatsu who died at the age of 14 on the 10th day of the 3rd month of the same year. Tatsu was the daughter of the haberdashery wholesale merchant Katsuta Gohei of Ōdenmachō, Nihonbashi. The album consists of six sheets, including a silhouette of Tatsu’s profile, her farewell poem, and pictures by Kawanabe Kyōsai, Shibata Zeshin and Hasegawa Settei. In addition, there are 55 memorial poems written by the Katsutas’ relatives and members of their immediate circle, including the kabuki actor Onoe Kikugorō V, who was favored by and given the patronage of the family. The album, which appears to be unique, was formerly in the collection of the Parisian art dealer Siegfried Bing. This article transcribes the poems and other texts of the album, and introduces their contents, while also examining the connection between the Katsuta family, the three artists and those who contributed poems.
Ikuyo Kagami is related to one of Kyōsai’s masterpieces, a painted album of Jigoku gokuraku meguri zu (A Journey around Hell and Paradise). Memorial works for Tatsu, which include Jigoku gokuraku meguri zu along with a handscroll of the same title and a hanging scroll Hina-matsuri, are all painted by Kyōsai alone (with the exception of the inner box for Jigoku gokuraku meguri zu which was decorated by Zeshin), and were all created for the deceased’s family members. Conversely, an important feature of the Ikuyo Kagami is the involvement not only of Kyōsai, but of other artists such as Zeshin and Settei, and those who contributed memorial texts. The participation of the people related to the Katsuta family, its production within the social context surrounding that family, and the fact that it was distributed outside the immediate family circle, make it very different from the other related works.
The woodblock printing reproduction of Tatsu’s handwritten poem and pictures in Ikuyo Kagami, which was probably produced for distribution to family members and close friends, reminds one of the famous example of Tsuyuhime, daughter of Ikeda Kanzan the daimyō of the Inaba-Wakasa Domain, who died in 1822 (Bunsei 5) at the age of 6. It is highly likely that Ikuyo Kagami was produced with the full awareness of the earlier memorial works that reflected the broad network of Kanzan as a member of the cultured elite. The image of Tatsu was thus conflated with that of Tsuyuhime – talented, virtuous, greatly loved and grieved. Other examples of a wealthy patron’s memorial to a deceased child, taking form as a woodblock printed deluxe edition gift volume can be seen in Kumanaki kage (Clear Shadows) published in 1867 (Keiō 3) and Katsura no kage (Shadows of A Katsura Tree), published in 1872 (Meiji 5), both contemporaneous with Ikuyo Kagami.
This article also clarifies that Ikuyo Kagami and Jigoku gokuraku meguri zu are closely connected to Kumanaki kage. In Kumanaki kage, Tatsu and six of her family members appear, and thus we know about the human network of the Katsuta family’s cultural activities. Furthermore, the silhouette image of Tatsu that appears in Ikuyo Kagami and on the inner box of Jigoku gokuraku meguri zu can be found in Kumanaki kage, which precedes those two. We can thus consider Ikuyo Kagami within the context of Edo period memorials of children such as the memorial project for Tsuyuhime and Kumanaki kage, and also see it as an interesting example that provides evidence of the trend for silhouette portraits as memorial images in the latter half of the 19th century.
「ハーヴァード・イェンチン図書館蔵 河鍋暁斎《伊蘇普物語之内》新出六図」、『暁斎』114号、河鍋暁斎記念美術館、2014年10月26日、21-27頁。
「明治の画譜『暁斎画談』――近世絵本文化からの連続と、新しい時代を迎えての展開」、国際浮世絵学会『浮世絵芸術』166号、2013年7月、20-37頁。
「展覧会カタログ評 「江戸の粋・明治の技 柴田是真の漆×絵」展」、『比較文學研究』、東大比較文學會発行、96号、2011年6月、151-156頁。
Sadamura Koto, Kawanabe Kyōsai no chōsen: Kyōga de hiraita shinjidai (Kawanabe Kyōsai's Endeavour: Exploring a New Era through Comic Pictures), Tokyo: University of Tokyo Press, 2023.
Monograph on the Japanese painter Kawanabe Kyosai (1831-1889), based on the PhD dissertation submitted to the Graduate School of Arts and Sciences, University of Tokyo, and published by the University of Tokyo Press (August 2023). ISBN: 978-4-13-086066-6
Index and Introduction from Sex and Laughter with Kyōsai: Shunga Works from the Israel Goldman Collection, written by Aki Ishigami and Koto Sadamura (Tokyo: Seigensha, 2017).
書評『月岡芳年伝 ― 幕末明治のはざまに』（菅原真弓著、中央公論美術出版、2018年）『文化資源学』18号、文化資源学会、2020年6月、66～67頁。