by Kawanabe Kyosai
~~ Book 1911160416 ~~
Paintings and Studies by Kawanabe Kyosai ~~
This is a comprehensive catalogue of art by Kawanabe Kyosai that was in Josiah Conder's personal collection. The art is primarily from the period of 1881-1889. Conder was a student and personal friend of the artist. Through this large collection and his personal association with Kyosai, Conder was eminently qualified to discuss all aspects of the artist's work from material employed to methods and techniques of painting to how he signed his work.
Technical Aspects of Plates:
Collotype prints (33)
Halftone prints (11 plates printed front and back, 22 pages with 87 numbered figures)
Red prints (3 plate of Kyosai seals & signatures, 49 numbered figures).
Collotype Plates by K. Ogawa. The plates are numbered with Roman numerals. There are 33 collotype plates at the rear of the book and they are attributed to K. Ogawa on the title page. It is unclear whether he photographed them or actually printed the plates or both. This is generally the case in publications such as this and I suspect he photographed and printed them. These plates are on thick card stock type paper and printed on one side only. Each is protected by an unnumbered descriptive tissue guard and interspersed among these tissue guard protected plates are numbered pages with textual comment on the art depicted on the plates as well as art not depicted. While 33+ items are reproduced, there is commentary on 100+ items on these numbered text page. An illustrative numbered descriptive text page is here. These comments give a descriptive name for the item, the size, the medium painted on and the technique used. In addition, they indicate how the piece is signed with reference to the seals/signatures that are illustrated on 3 earlier pages. Plates are sometimes discussed and referenced in the earlier text portion of the book.
Here is how the collotype plates are organized.
Collection of Paintings (20 collotype plates, 82 items of art discussed
Some plates present more than one item (like the screens where one plate has 2 or more images of panels from a screen). Likewise some text discussions cover more than one image).
Halftone Plates by K. Ogawa. There are 22 pages halftone plates (11 plates). These are printed on the same glossy paper which is the same weight as the text pages. The pages are printed front and back. Each image on the plate is assigned a figure number. There are a total of 87 figures. The figures are employed to illustrate points made in the text portion of the book.
The paintings and print subjects of Kawanabe Kyosai (1831-1889) range from traditional to comic, pornographic, bizarre and fantastic. His painting often contain imagery of dragons, ghosts, devils, and demons. His drawing style was unique and at the same time he was capable of painting in the finest traditional style. Kyosai formed a close association with Josiah Conder.
Contents Page Short Title Page I Frontisplate II Title Page III-IV Preface V-X Contents XI-XII Errata Sheet bound in List of illustrations XIII-XVII Life of the Painter 1 Painting Materials 15 Painting Methods 27 Examples of Technique 45 Signatures and Seals 79 Catalogue of Collection 93 Glossary 127-131 Short-title page reads "Paintings and Studies by Kwanabe Kyosai". Frontispiece: Chromo-xylograph of painting on one leaf of Screen (Area of image is 12.2 x 27.1 cm) Full Title Page (printed in red) is here Collotype Plates ["Collection of Paintings" (Kakemono) heading, Plates I - XX] Plate I. The famous courtesan, Jigokn-dayu, the priest Ikkiu, and dancing skeletons. Plate II. Hut of the Chinese basket-maker Hokoji. Hokoji's daughter Ueishojo. Plate III. Paintings from Mitsunaga's scroll illustrating the "Ills of Mankind" A Ghost. Plate IV. The Shinto deity Susano killing the nine-headed sea-dragon. Plate V. The goddess Usume dancing. The Wistaria-maiden and Demon-priest. Plate VI. Ebisu and Okame before a painting of Daikolui. Plate VII. The demon-queller (Shoki), and two demons. Plate VIII. Mountain view in rain. Plate IX. Mushroom-gathering at Arashiyania. Plate X. A tiger. Plate with Description Plate XI. The dragon crossing in front of Fujiyama. Plate XII. Bamboos in a rain storm. Two crows on a tree, with landscape. Plate XIII. Carp, swimming in a lake. Plate XIV. A flying crane, pines, bamboos, and tortoises, with the rising sun. Plate XV. The god-of-wind chased by a falcon. Plate XVI. White eagle, and monkey. Plate XVII. A concourse of crows. Plate XVIII. The goddess Kwannon on a dragon. Plate XIX. The magician called Gama-Sennin. The magician called Tekkai-Sennin. Plate XX. A monkey. Hawk on snow-covered tree holding a sparrow. ["Screens" Plates XXI - XXVIII] Plale XXI. A Japanese beauty of the llth century. Female attendant and young girl, of the same period. Plate XXII. Hidari Jigoro and the Kyoto image. Plate XXIII. Figure from the lyrical drama, Momiji-gari. Sword and falling maple leaves. Figures from the lyrical drama, representing the Thunder-god. A priest struck by lightning. Plate XXIV. The Kwannon temple of Kiyomidzu, with cherry trees in blossom. The goddess Kwannon in battle. Plate XXV. The famous courtesan, Jigoku-dayu, in company with a demon. The priest Ikkiu holding a skull on a stick. Plate XXVI. A hawk in downward flight, and reeds. A sparrow in flight and the rising sun. A demon disguised as an itinerant priest, and a servant-hoy. The Wistaria-maiden (Fujimusume) and a falconer emerging from a painting on a screen. Plate XXVII. Small long-eared owl on a plum tree stump. Fish of different kinds swimming. White hawk, pine tree, and waterfall. Plate XXVIII. Rabbits among flowers, and a snake. A white and a black monkey on a fruit tree. ["Framed Paintings" (Gaku) Plates XXIX-XXXIII] Plate XXIX. The seven gods of fortune and Okame at a banquet. A procession of blind men led by a white hare to the moon. Plato XXX. The dragon of Horiuji temple. The female demon of Togakushi-yama. Plate XXXI. The temptation of Shaka Niorai. Plate XXXII. The punishment and conversion of Rokuso Zenji. Plate XXXIII. Landscape showing a mountain tarn, with reeds, distant hills, and a misty moor, with wild geese and ducks. Half-tone Illustrations Fig. 1. Diagram showing square brush-strokes used for drawing rocks Fig. 2. Outlines for rocks and rushing torrent Fig. 3. Outline of tree-structure Fig. 4. Outlines of sea-rocks and waves Fig. 5. Outline of tree in wind Fig. 6. Outlines of undulating water, and sketch in line of breakers, made at Enoshima Fig. 7. Diagram showing lines and washes used in drawing hill contours Fig. 8. Outlines of nude figures in exaggerated action Fig. 9. Various outlines used in representing different types of faces, and hands Fig. 10. Outlines employed in drawing drapery. Fig. 11. Wash-sketches explanatory of drawing of small fish, of fish shown in a water-current, and of the claw of a crab drawn in silhouette Fig. 12. Sketches of carp made in outline and ink wash Fig. 13. Study, in detailed outline, of two large carp made for painting of Kakemono Plate XIII Fig. 14. Study in detailed outline of another carp as seen from the front, for the same painting Fig. 15. Study, in detailed outline, of back view of a carp, for the same painting Fig. 16. Outline study for the Kyoto image of the painting on Screen 3. Plate XXII Fig. 17. Outline study for the painting of a Chinese lady Fig. 18. Outline drawing for album-painting of a tortoise catching a frog Fig. 19. Outline study for the painting of Kwannon on a dragon in Kakemouo Plate XVIII Fig. 20. Bold outline drawing of an actor Fig. 21. Elaborate outline drawing for a painting of the goddess Usume and musicians before the cave of the Sun-goddess Fig. 22. Elaborate outline drawing for a painting of the god Tajikara hurling away the cavern-rock and disclosing the Sun-goddess Fig. 23. Outline drawing of a Rakan (Arhat) doctoring a dragon Fig. 24. Outline drawing of three Rakan, an elephant, a camel, and a demon, riding in the sea Fig. 25. Ink line and wash drawing of a seated Rakan Fig. 26. Ink outline drawing of a Rakan on a dragon, in waves Fig. 27. Outline drawing of a Rakan, demon, and dragon Fig. 28. Outline drawing of a Rakan with a lion Fig. 29. Strong ink line drawing of a seated Rakan, rock, and owl Fig. 30. Ink line and wash drawing of a Rakan playing with a monkey Fig. 31. Ink line and wash drawing of a Rakan feasting, with attendant serving Fig. 32. Unfinished outline of a Rakan with a crook, and another figure faintly indicated in charcoal Fig. 33. Outline study for the painting of Shoki and two demons in Kakemono 22, Plate VII Fig. 34. Humorous sketch in ink-wash of the God of thunder, fallen from the clouds Fig. 35. Humorous outline sketch of Ebisu with his fish Fig. 36. Ink sketch of an aged man and a plant-seller Fig. 37. Humorous outline sketches of Daikoku and Ebisu Fig. 38. Ink sketch of a boy riding an ox, on a moor Fig. 39. Illustration of the paintings of Screen 5 Fig. 40. Rough design for ornament used on robe of figure in Screen 1, Frontispiece, and Plate XXI Fig. 41. Rough design for water-spirals and ballast-baskets in the same painting Fig. 42. Diagram for setting-onto of bamboo pattern on the same painting Fig. 43. Sketch in ink of the same bamboo-pattern Fig. 44. Design for medallions used on the sash of figure in the same painting Fig. 45. Designs for other medallions Fig. 46. Design for ornament of wave-spirals Fig. 47. Design for sea-weed ornament Fig. 48. Design for painted dragon on drum Fig. 49. Study for distribution of ivy-leaf pattern upon robe of figure in Screen 1 Fig. 50. Detailed outline study for wicker-work flower-basket in the same painting Fig. 51. Continuation of Fig. 49 Fig. 52. Ink sketches for two horizontal panel paintings of crows Fig. 53. Ink sketches for two horizontal panel paintings of crows Fig. 54. Ink sketches for two horizontal panel paintings of crows Fig. 55. Ink sketches for two horizontal panel paintings of crows Fig. 56. Ink sketches for two horizontal panel paintings of crows Fig. 57. Ink sketches for two horizontal panel paintings of crows Fig. 58. Ink sketches for two horizontal panel paintings of crows Fig. 59. Ink sketches for two horizontal panel paintings of crows Fig. 60. Outline sketch for horizontal panel painting of crows Fig. 61. Ink sketch for horizontal panel painting of pigeons in bamboos Fig. 62. Outline study of pigeons and clouds Fig. 63. Ink sketch for vertical panel painting of crows Fig. 64. Ink sketch for vertical panel painting of crows Fig. 65. Ink sketch for vertical panel painting of small birds Fig. 66. Ink sketch for vertical panel painting of crows and sun Fig. 67. Ink-wash sketch of ladies and children at games Fig. 68. Rough ink sketches for panel pictures of long-armed monkeys Fig. 69. Ink-wash sketch of dancing figures Fig. 70. Ink-wash sketch of Okame, Daikoku, and his rats Fig. 71. Ink line sketch of Hotei and children Fig. 72. Ink-wash sketch of Daikoku and Ebisu Fig. 73. Outline sketch of Daikoku with rats, and Fukurokujin with children Fig. 74. Outline sketches of Daikoku as a pedlar Fig. 75. Rough outline sketch of subject from history of Yoshitsune Fig. 76. Rough outline sketch of numerous figures carousing Fig. 77. Sundry rough outline sketches Fig. 78. Rough outline sketch of numerous figures at amusements Fig. 79. Illustration of Daruma painting, Kakemono 68 Fig. 80. Illustration of large Daruma painting, unmounted Kakemono 79 Fig. 81. Outline sketch of youth flying a kite Fig. 82. Outline sketch of female figures dancing Fig 83. Outline sketch of a Shinto dance Fig. 84. Caricature sketch in outline Fig. 85. Outline copy of carved image by Unkei, at Kamakura Fig. 86. Caricature sketch of Shoki, demons, and Emma-o Fig. 87. Outline copy of carved image by Unkei, at Kamakura Impressions in red of 16 of Kyosai's seals Impressions in red of 18 of Kyosai's seals Impressions in red of 15 of Kyosai's seals