Hokumei gafu 北明画譜

FSC-GR-780.215

Commentary by Suzuki Jun

Posted June 2, 2017

Original unedited text in Japanese follows

This full-color illustrated book is by the female artist Inoue Hokumei (井上北明). In his preface to Hokumei gafu (Hokumei’s painting album) Rai Sanjin (dates unknown), referring to the Six Laws of Painting, writes about Hokumei: “I know that Inoue Hokumeijo was born with a love of painting, and even before she learned of the Laws of Painting, she [Hokumei] should have been an excellent, superbly talented artist.” [1]

The fifteen double-page illustrations are printed in light colors. Their subjects are varied and appear in the following order: a plum tree; crabs; iris; landscape with sea view; a performing monkey; a swallow in flight above rocks; a dragonfly on a gourd; a waterfall; morning glories with a round fan; chrysanthemums and a butterfly; a nocturnal scene with a bridge; a sparrow in the snow; orchids; camellias with narcissus; and a canyon in the rain. Many of the works are refreshing in their restraint, infused with an intimacy of feeling. The decision to seal each image with the names Hokumei 北明, Seijo (政女), or both (e.g., pp. 26–27 on the website) may indicate the artist’s intention of seeking recognition within the artistic community.

The pioneering book scholar Louise Norton Brown (1865–1923) asserted that Hokumei’s style was influenced by the artists Ogata Kōrin 尾形光琳(1658–1716) and Sakai Hōitsu 酒井抱一 (1761–1828) [2]; however, the landscapes also share similarities with the Shijō lineage. One theory maintains that the artist of this work was Katsushika Hokumei 葛飾北明 (act. 1804–1830), who is known for his illustrations for yomihon. [3] However, a stylistic analysis suggests that Inoue Hokumei and Katsushika Hokumei may have been two different artists. Hokumei gafu 北明画譜 is a rare book but the Pulverer Collection houses two copies.

書名北明画譜

執筆者鈴木淳

井上北明画。江戸・三友堂蔵板。淡色摺り。各絵の署名「政女」「北明」。徠山人の序（冠北明子画品）に、絵画の六法を挙げながら、北明について「余所知井上氏女北明子天資好画、冥念此法式可謂巧妙佳手也」（私が知っている井上氏北明女は、生まれながらにして絵を好み、知らない間にこの画法に達した、巧妙で優れた画家というべきである）とある。全十五図で、画題は梅、蟹、燕子花、山水、猿挽き、燕に岩礁、瓜に蜻蛉、瀑布、朝顔に団扇、菊花に蝶、夜陰の橋、雪に雀、蘭、椿に水仙、雨の渓谷。余計なものをあまり描き込まない清爽とした中にほのぼのとした味わいを醸しているものが多い。各絵に「政女」「北明」とある印形を押捺するのは、本画師による書画の世界の趣である。早くルイス・ブラウンによて光琳や抱一の様式の影響が指摘されているが、山水図などは、四条派に通じるものがある。古く読本類に挿絵を残した葛飾北明と同一人物とする説が行われたが、画風からしても、別人と見るべきである。なお『北明画譜』は伝存稀であるが、本コレクションには二部存する。

Selected readings:

Louise Norton Brown, Block Printing & Book Illustration in Japan (London: George Routledge & Sons, Ltd.: E. P. Dutton & Co., 1924).

Jack Hillier, The Art of the Japanese Book, 2 vols. (London: Sotheby’s Publications by Philip Wilson Publishers Ltd., 1987).

Nakada Katsunosuke 仲田勝之助, Ehon no kenkyū 『絵本の研究』 (Tokyo: Bijutsu Shuppan, 1950).

Kenji Toda, Descriptive Catalogue of the Japanese and Chinese Illustrated Books in the Ryerson Library of the Art Institute of Chicago (Chicago: 1931; repr., Mansfield Centre, CT: Martino Publishing, 2004),399–400.

Copies in other collections:

Art Institute of Chicago

[1] Rai Sanjin’s preface has the alternate title Kan Hokumeishi gahin 冠北明子画品.

[2] Brown 1924, 79–80.

[3] Hillier 1987, vol. 2, 789–93.