魚屋北渓 乾鮭と破魔弓 江戸時代
\r\nFish and shellfish were bountiful in Japan, but while salmon had been abundant in Ezo (present-day Hokkaido), the northernmost island of Japan, it was relatively new to the Japanese diet in the Edo period. Both the dried salmon and miniature quiver seen in this print are associated with the New Year; salmon is often prepared as part of a luxurious celebratory meal, and a quiver purchased at a shrine “clears the evil spell” and helps usher in a happy year. The poems on the print are loaded with puns and references to cultural practices of the time. The first poem seems to indicate that the miniature quiver set was presented to a family’s firstborn son. Gauffrage is only lightly used, on the salmon’s body, but the coloring shows sophistication, with exquisite line drawings and the subtle rendering of the fish in silvery blue.
","classified_as":[{"id":"http://vocab.getty.edu/aat/300435416","type":"Type","_label":"Description"}]},{"type":"LinguisticObject","content":"sheet: 8 1/8 × 7 3/16 in. (20.7 × 18.2 cm)","classified_as":[{"id":"http://vocab.getty.edu/aat/300435430","type":"Type","_label":"Dimensions"}]},{"type":"LinguisticObject","content":"Poem 1: Hōrai Kamemaru:\r\nThe first-born month of the year \r\nsprings forth from the labors \r\nof the vernal goddess Sao,\r\nswift as an arrow and \r\nshrouded in the new year's mists.\r\n\r\nPoem 2: Hōrai Kamemaru:\r\nUnpaid debts\r\nsting worse than searing pains \r\nin a bowed back,\r\nwith debt collectors needling you\r\nfor their cure for having been burned.\r\n\r\nPoem 3: Sairaikyo:\r\nSpring comes down, \r\nfollowing in the wake of boats\r\npacked with dried salmon\r\nfrom the eastern hinterlands,\r\nto Great Edo.\r\n\r\nPoem 1: 蓬莱亀丸 Hōrai Kamemaru\r\n\r\nさ本姫の 介さうみ出す 太郎月 者やめ*尓かゝる 初霞可南\r\nSaohime no/ kesa umi idasu/ Tarōzuki/ hayame* ni kakaru/ hatsu gasumi kana\r\n\r\n*hayame 早め could mean \"early\" as well as \"ha yame\" ”速い矢目” meaning swift arrow to inroduce the image of the miniature set of bow and arrows.\r\n\r\nPoem 2: (the same poet as the above)\r\n\r\n借錦盤 灸より徒らき としの腰（年残し） 阿つきお可多**も 大可多そきく\r\nshakkin wa/ kyū yori tsuraki/ toshi no koshi/ atsuki ogata** mo/ ōkata zo kiku\r\n\r\n(For reference only: Aged hip or the passing year with debt is harder than moxibustion. In general hot \"person\" (atsuki okata)** can work into it.)\r\n\r\n**pun with \"ogata\" meaning the section of the shaft of an arrow that is capped with an arrowhead called 箆（hi）.\r\n\r\nPoem 3: 西来居 Sairaikyo\r\n\r\nから鮭の 舟につゝきて ひん可しの 蝦夷よりきぬる 大江戸の春\r\nkarazake*no/ fune ni tsuzuki te/ hingashi no/ Ezo yori kinuru/ Ōedo no haru\r\n\r\n\r\n*karazake 乾鮭 means the salmon without its intestine plainly dried (shiraboshi 素乾）in the air (without smoking or any other means)\r\n\r\n\r\nNotes:\r\n＊佐保姫（さほひめ）：春の女神である。元は佐保山の神霊であり、948年の『陽成院一宮姫君歌合』では秋の歌に登場している。『記紀』における狭穂姫（沙本毘売）とは同名であることから混同される事があるが無関係。五行説では春は東の方角にあたり、平城京の東に佐保山（現在の奈良県法華寺町法華町）があるためにそこに宿る神霊佐保姫を春の女神と呼ぶようになった。白く柔らかな春霞の衣をまとう若々しい女性と考えられ、この名は春の季語であり和菓子の名前にも用いられている。 竜田山の神霊で秋の女神竜田姫と対を成す女神。竜田姫が裁縫や染めものを得意とする神であるため、対となる佐保姫も染めものや機織を司る女神と位置づけられ古くから信仰を集めている。古来その絶景で名高い竜田山の紅葉は竜田姫が染め、佐保山を取り巻く薄衣のような春霞は佐保姫が織り出すものと和歌に歌われる。\r\n＊太郎月（たろうづき）：正月の異名。\r\n*Transcription by Sadako Ohki and Yumi Koga, 3-6-2017 & revised 2-6-2018.\r\n\r\n","classified_as":[{"id":"http://vocab.getty.edu/aat/300435414","type":"Type","_label":"Inscriptions"}]},{"type":"LinguisticObject","content":"Three collector's seals: Hayashi Tadamasa (two seals) (circular, relief, red ink) (top right, bottom right and bottom left).","classified_as":[{"id":"http://vocab.getty.edu/aat/300435420","type":"Type","_label":"Marks"}]},{"type":"LinguisticObject","content":"Surimono, shikishi-ban; polychrome woodblock print with gold and silver pigment and gauffrage","classified_as":[{"id":"http://vocab.getty.edu/aat/300435429","type":"Type","_label":"Medium"}]},{"type":"LinguisticObject","content":"Edo period (1615–1868)","classified_as":[{"id":"http://vocab.getty.edu/aat/300081446","type":"Type","_label":"Period"}]},{"type":"LinguisticObject","content":"Hayashi Tadamasa (1853–1906) (2 seals), Paris, France. Eugene Biederman. Acquired by Joan B. Mirviss (dealer), New York; sold to Virginia Shawan Drosten and Patrick Kenadjian, Koenigstein im Taunus, Germany, 2009 (on loan to the Yale University Art Gallery, New Haven, Conn., 2017–2020); given to the Yale University Art Gallery, New Haven, Conn., 2020","classified_as":[{"id":"http://vocab.getty.edu/aat/300435438","type":"Type","_label":"Provenance"}]},{"type":"LinguisticObject","content":"Hokkei (at bottom left)\r\nThree round seals are all of Hayashi Tadamasa 林忠正 .\r\nRound seals in relief： Bottom left 林； top right and bottom right are 林忠\r\n","classified_as":[{"id":"http://vocab.getty.edu/aat/300028705","type":"Type","_label":"Signed"}]},{"type":"LinguisticObject","content":"Plan your visit to the Yale University Art Gallery","classified_as":[{"id":"http://vocab.getty.edu/aat/300025883","type":"Type","_label":"Visitors' Statement"}]}],"subject_of":[{"type":"LinguisticObject","_label":"View this record on the Yale University Art Gallery website","digitally_carried_by":[{"type":"DigitalObject","_label":"View this record on the Yale University Art Gallery website","classified_as":[{"id":"http://vocab.getty.edu/aat/300264578","type":"Type","_label":"Web Page"}],"identified_by":[{"type":"Name","content":"View this record on the Yale University Art Gallery website"}],"format":"text/html","access_point":[{"id":"https://artgallery.yale.edu/collections/objects/160604","type":"DigitalObject"}]}]},{"type":"LinguisticObject","_label":"IIIF v3 manifest","digitally_carried_by":[{"type":"DigitalObject","_label":"IIIF v3 manifest","identified_by":[{"type":"Name","content":"IIIF v3 manifest"}],"format":"application/ld+json","access_point":[{"id":"https://manifests.collections.yale.edu/yuag/obj/160604","type":"DigitalObject"}],"conforms_to":[{"id":"http://iiif.io/api/presentation/3/context.json","type":"InformationObject"}]}]}],"representation":[{"type":"VisualItem","_label":"Primary Image Thumbnail","digitally_shown_by":[{"type":"DigitalObject","_label":"Primary Image Thumbnail","access_point":[{"id":"https://media.collections.yale.edu/thumbnail/yuag/obj/160604","type":"DigitalObject"}],"classified_as":[{"id":"http://vocab.getty.edu/aat/300215302","type":"Type","_label":"Digital Image"}]}]}],"produced_by":{"type":"Production","part":[{"type":"Production","classified_as":[{"id":"http://vocab.getty.edu/aat/300025103","type":"Type","_label":"Artist"}],"referred_to_by":[{"type":"LinguisticObject","content":"Artist: Totoya Hokkei (Japanese, 1780–1850)","classified_as":[{"id":"http://vocab.getty.edu/aat/300435446","type":"Type","_label":"Creator Description"}]}],"carried_out_by":[{"id":"https://media.art.yale.edu/content/lux/agt/1294.json","type":"Person","_label":"Artist: Totoya Hokkei (Japanese, 1780–1850)"}]}],"timespan":{"type":"TimeSpan","begin_of_the_begin":"1810-01-01T00:00:00Z","end_of_the_end":"1830-12-31T00:00:00Z","identified_by":[{"type":"Name","content":"late 1810s","classified_as":[{"id":"http://vocab.getty.edu/aat/300404669","type":"Type","_label":"Display Date"}]}]},"technique":[{"id":"http://vocab.getty.edu/aat/300419280","type":"Type","_label":"color woodcut (process)"}],"referred_to_by":[{"type":"LinguisticObject","content":"Japan","_label":"Associated place: ","classified_as":[{"id":"http://vocab.getty.edu/page/aat/300435448","type":"Type","_label":"Creation Place Description"}]}]},"shows":[{"id":"https://media.art.yale.edu/content/lux/vis/160604.json","type":"VisualItem","_label":"Dried Salmon with a Quiver [Visual Content]"}]}