Page 186 - Edo: Art in Japan, 1615–1868

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93
Watanabe Shikô (1683-1755)
Farmers and Ox on a Path
Two-panel screen; ink, color,
and gold on paper
x
3
166.2x176.6 (65 /8x69 /2)
Tokyo National Museum
Illustrated page 164

• An oxherd carrying harvested bam-
boo converses with his companion,
who has a small scythe and a basket 185
of forest products, as they walk
through a landscape of autumn
grasses and trees. Gold flecks estab-
lish the ground under the trees and
bushes and form shimmering mists
in the background. These combine
with mounds of earth defined by
puddled-ink technique (tarashikomi)
to give the landscape a surreal and
decorative aspect. The scene is domi-
nated by gold, yellow, and light green
tones, accented by the ink wash on
the ox and the dark accents of foliage,
all of which evoke the warmth of
the early fall. The decorative painting
style, representation of the figures, 94 the strength of the fishermen: the
and use of puddled ink are all hall- Tray with design of men pulling a boat bending pole on the boat where the
marks of the Rinpa manner, to which Seventeenth/eighteenth century rope is tied, and the taut line of the
Watanabe Shikô adhered later in life. Lacquer with makie, bamboo, and rope itself, stretched across a broad
wicker rim and handle space. The agitated silhouettes of
The subject may refer to the idealized 5 3 pines at the top echo the tension of
life of the literati recluse. Such rural 32 x 42.5 x 5 (i2 /s x i6 Ax 2) the scene below.
hermits were esteemed for their abil- Tokyo National Museum
ity to contemplate higher matters, The tray's rim and handle are of
unfettered by the constraints of court • Deceptively simple in construction double slats of bamboo secured by
or city life. HG and technique, this oblong tray is wickerwork. The bamboo knots have
sophisticated in design. Its unassum- been carefully positioned near the
ing qualities suggest that it might center of each side. The final design
have been made for use in the tea is rich in its internal dynamics. HG
ceremony Gold filings are densely
sprinkled to imitate gold leaf (hira-
makie) in a style that, set against a
plain brown or black surface, was
popular in the early Edo period.

This view of a boat, reeds, fishermen,
and pines is derived from the Beach
and Pine genre. The artist here has
used economical means to display

93 (detail)