While we tend to dread the long summer months in South Florida – where the Morikami Museum and Japanese Gardens is located – summer in Japan is full of wonderful activities. Things like attending festivals (matsuri), watching fireworks, catching fireflies, telling ghost stories and eating watermelon to name a few.
All of the seasons are important in Japanese culture, but it is really the transitions from one season to the next and one moment to the next that are so deeply rooted. In Japanese the term mono no aware is used to describe the bittersweet feeling one gets when experiencing ephemeral beauty. One example would be listening to the sound of cicadas in summer grass. It is a very distinct sound, which becomes more poignant with the realization that these individual insects only live for two to four weeks.
In Japanese society, the formal greetings and casual everyday exchanges also change with the seasons. In June, it is common to hear phrases like, “The rainy days continue, don’t they?” From July to August 7, many people still send midsummer greeting cards to catch-up with family and friends. These same subtleties are expressed in the visual arts as well.
Summer kimono
ca. 1920s-30s, Taishō or Shōwa period
Indigo dyed silk crepe de Chine
60 in. H x 49 in. W
Gift of Chana Motobu
1998.059.002
Crepe de Chine is a specific kind of silk. The technique originates from ancient China (hence the name). Before the silk cloth is woven, the individual strands are twisted tightly. This produces a soft, smooth fabric with a matte finish. Clothes made with this fabric are lighter, more durable and have better breathability than regular silk weaves.
The design on the robe is made using the shibori technique. This a resist dye technique created by binding around a puckered section of fabric with fine thread before receiving the indigo dye. Specifically this is an advanced technique called kanoko shibori – closely placed squares – applied to form the dappled bellflower design. The type of fabric and motif indicates that this robe is meant to be worn in late summer.
Pillow (makura)
ca. 1980-1986, Heisei period
Bamboo frame with woven reeds
5 in. H x 9.5 in. W
Gift of Linda C. Whealin
1986.010.004
This is a pillow or rather a neck rest. This pillow was produced in modern time, however with the elaborate hairdos of ancient and medieval times, one could sleep with the neck supported and the hair untouched. The overall shape carried over into modern times. Vintage makura are typically made of porcelain, but this lighter, more open weave of reeds allows for better airflow making this the perfect choice for a summertime afternoon nap.
Shallow tea bowl (hirajawan)
Artist uncertain
ca. 1800-1867, late Edo period
Glazed stoneware with iron-oxide underglaze
2.5 in. H x 5.5 in. Di.
Museum purchase
1989.021.038
This bowl is made in the traditional style of Hagi wares (hagiyaki). Hagi pottery developed during the Edo period in the coastal city of Hagi in Yamaguchi prefecture. It is known for pink or reddish clay (notice the foot of the bowl), rough textures and subtle colors in the glazes. Aside from this simple elegance, tea masters agree that these works become more beautiful with age as the tea seeps into the cracks and changes the color of a piece over time.
Stoneware is clay that has been fired at a high temperature (over 2,000˚ F) causing the clay to fuse and is therefore able to hold liquids without absorbing them – ideal for tea implements. This bowl features an iron oxide underglaze that can be seen in the dark sections along the lip of the bowl. Two additional glazes were added to create the final decoration.
The overall shape of the bowl is shallow with thin walls allowing the tea to cool down faster. Thus, hirajawan are used during the summer. This bowl has a seal on the base, but it is not yet translated.
Mutli-tiered food boxes (sagejū bako)
ca. 1800-1868, late Edo period
Wood, lacquer, gold, silver and iron
10.75 in. H x 12 in. W
Museum purchase
1989.021.002a-h
Picnics with friends and family are a favored activity in Japan. This 14-tiered stacking box has four containers, a sake pourer, two cups and a serving plate; everything needed for a simple meal out of doors. The entire set is wood covered in lacquer with some metal fittings.
Lacquer is the sap from the lacquer (urushi) tree that grows throughout Asia. If the sap is applied under the right conditions, it actually hardens – rather than simply drying – over any material giving a long lasting, highly durable surface. That surface can then be decorated using many different techniques. On this box, we find raised and sprinkled gold pictures (hiramakie) on the lid and containers, a pear-skin texture (nashiji) forms the background of the design and covers the interior, as well as some gold and iron inlay (note the serving dish) to heighten the contrast.
A flat fan (uchiwa), as opposed to a folding fan, on the lower tiers suggest summer. However, there are other seasonal motifs such as cherry blossom for spring, chrysanthemum for fall, and pine for winter all suggesting that this a piece suitable for use in any season.
Seal case (inrō)
ca. 1830-1880, late Edo or early Meiji period
Wood, lacquer, mother-of-pearl and silk cord
3.325 in. H x 2 in. W
Gift of Margaret Kramer Porte
1993.025.004
Another object made from wood decorated in lacquer (urushi) with gold inlay, but here we also find a beautiful shell inlay technique in the iridescent wings of the butterflies. The object name translates to ‘seal case’ originally used to carry personal stamps for signing documents. Other items also fit nicely into these cases such as medicine or make-up. They became common accessories during the Momoyama period (1568-1603).
Together with a toggle (netsuke) and bead (ojime) joined by a cord, the case can be adjusted to hang below the obi. A design of summer grasses bending in the breeze and fluttering butterflies signifies that this case is to be worn in the summer.
Kite
Heisei period (1989-2019)
Paper, dyes, bamboo and string
28.325 in. H x 18.625 in. W
Gift of Sandra Gregersen
1996.040.025
Flying kites and collecting bugs are two popular summer pastimes. Here we find them combined in a cicada (semimushi) shaped kite. There are more than 35 different species of cicada in Japan. These bugs often appear on or near cherry blossom trees during the day. Their mating calls can be very loud in the late summer and early fall.
Hairpin (kanzashi)
Date uncertain
Insect, lacquer and metal
4.25 in. L x 1.5 in. W
Gift of Broward College Museum
2018.008.125
Tamamushi, or jewel beetles, are easily identified by their iridescent green exoskeletons. This hairpin would be worn in summer, when these beetles are prevalent. These insects like warm, sunny days.
There is also a Buddhist shrine from the 7th century that is called the Tamamushi Shrine. The surface of the wooden structure was originally covered with the shiny green wings of the beetles. The term tamamushi is also used to refer to an inlay technique that uses layers of silver or aluminum powder covered with translucent layers to create the same shimmer as the beetle wings.
Calendar pages
June and August by SERIZAWA Keisuke (1895-1984)
July by NISHIJIMA Takeshi (1929-2003)
Stencil dyeing: ink and dyes on paper
15.25 in. H x 11.75 in. W
June and August: Gift of Mitzie Verne
July: Gift of Dr. and Mrs. Irvin Dagen
2001.003g, 1983.014.006g and 2001.032.002i
By the Edo period (1603-1868) it was a common practice to commission print calendars to be exchanged as gifts around the new year. Early on these woodblock prints were monochrome or hand painted after printing. In 1765, the first full color calendars were produced for patrons. This led to the expansion of polychrome, or “brocade pictures” woodblocks and the development of the printing studio system including the artist, the block carver, the inker and the publisher.
These calendar pages are from 1971, 1977 and 1962 (respectively). Artists like Serizawa and Nishijima produced these pages with the stencil dyeing technique, rather than woodblock method. Although their work was considered folk art, their work closely aligns with the aesthetics of the creative print movement, which strove to promote more modern and artistically expressive works. Both artists were designated as Living National Treasures for their traditional stencil dyeing techniques.
Evening Spectacle at Ryōgoku Bridge
From the series “The Four Seasons at Famous Places in the Eastern Capital”
by UTAGAWA Kunisada (Toyokuni III) (1789-1864)
1853, Edo period
Woodblock print: ink and colors on paper
Image: 14 in. H x 9.5 in. W
Gift of Martha McCormack
1988.002.008a-c
The Ryōgoku Bridge was constructed across the Sumida River in 1659.
This type of print composition in three parts is called a triptych. The artist who created the design is Utagawa Kunisada, also known as Toyokuni III. He was at the forefront of woodblock print production of the first half of the 19th century and always in tune with the tastes of the public.
This woodblock print of summer revelry features women on a veranda enjoying shamisen music along with some sake and snacks. The subject is an iconic summer tradition in Tokyo originating from the Edo period. It commemorates the river-opening ceremony with massive fireworks (imagine the booming and crackling) launched amid lantern-lit boats.
Fireworks at Ryōgoku Bridge
From the series “One Hundred Famous Views of Edo”
by ANDŌ (UTAGAWA) Hiroshige (1797-1858)
1858
Woodblock print: ink and colors on paper
8.375 in. H x 6 in. W
Gift of Ross and Charlotte Miller
2026.009.065
This print depicts the same scene as the previous one, but from a distant, birds-eye viewpoint. There was a large earthquake and tsunami in 1856; this was the first time the fireworks were held since that disaster and symbolized the healing of the city.
This woodblock print is by Andō Hiroshige who was best known for revolutionizing the landscape genre. He would often use extreme or unusual viewpoints. He is regarded as the last great print artist of the 19th century. He lived and worked in Edo (present day Tokyo). The series was so popular that there are actually more than 100 prints. This print was published about a month before his death, and reprints of the series continued even after his passing.
Obon Festival Moon
From the series “One Hundred Aspects of the Moon”
by YOSHITOSHI Tsukioka (1839-1892)
June 1887, early Meiji period
Woodblock print: ink and colors on paper
13.5 in. H x 9 in. W
Museum purchase
2020.008.002
One of the outstanding series in the history of Japanese woodblock prints, Yoshitoshi’s “One Hundred Aspects of the Moon” is the culmination of the artist’s career. Issued as individual prints from 1885–1892, the series combines diverse, striking designs with dramatic historical and mythical stories from Japanese and Chinese culture.
One of the outstanding series in the history of Japanese woodblock prints, Yoshitoshi’s “One Hundred Aspects of the Moon” is the culmination of the artist’s career. Issued as individual prints from 1885–1892, the series combines diverse, striking designs with dramatic historical and mythical stories from Japanese and Chinese culture.
Join us at Morikami for Obon weekend special activities in August!
Maiko in Summer
by HASEGAWA Sadanobu III (1881-1963)
ca. 1950-1959,
Woodblock print: ink and colors on paper
15.5 in. H x 10.5 in. W
Gift of Paulina C. Cayia
2003.002.027
Maiko are usually younger than 20 years old. They wear more colorful kimono with a red collar and lack conversation skills. Maiko means literally, “dancing child,” referring to apprentice geisha still in training. Maiko must live in the geisha house for at least five years. The young women are not allowed to have cell phones, carry money or have boyfriends. The Daimonji, a kanji character for fire, is seen in the distant hills behind the maiko.
On the night of August 16, in Kyoto, Obon concludes with a breathtaking ritual known as Gozan no Okuribi. Massive bonfires in the shape of a kanji character are lit across the mountains. These flames symbolically send ancestral spirits back to the afterlife. The view of these fiery characters glowing over the darkened city marks a memorable and impressive end to the Obon season.
Doro Gorge, Kii Provence
by KAWASE Hasui (1883-1957)
1943, Shōwa period
Woodblock print: ink and colors on paper
8.5 in. H x 7.5 in. W
Museum purchase
2003.004.006
Regarded as a major Japanese landscape artist of the 20th century, Kawase’s prints are characterized by their serenity of mood and flawless composition. Born Kawase Bunjiro in Tokyo, later called Kawase Hasui, he was the son of a silk braid merchant. He began his artistic career studying Japanese-style painting and Western-style painting. His talent was clear, exhibiting in the Tatsumi Exhibition of Painting at age 19. However, soon after Hasui turned his attention to woodblock printing.
He became the most popular artist working for prestigious publishers of the day. Hasui traveled widely in Japan and his subjects consisted mostly of his surroundings. His Japanese landscape prints are based on small, quick sketches and watercolors taken from nature. He was an important artist in the shin hanga movement, or new woodblock print movement.
Doro Gorge is located within the Yoshino-Kumano National Park and is known for its deep emerald-green waters, towering cliffs and rock formations. Here the artist emphasizes the cool waters and deep shadows of the gorge in summer to produce a cooling effect.
Taste of Summer (Ichimi Natsu)
Artist uncertain
1985, Shōwa period
Ink on paper
50.25 in. H x 21.25 in. W
Gift of Veljko Dujin
2014.016.019a-b
This is a modern, monochrome ink painting using a very wet brush to paint the cucumber and write the characters. It is mounted in the traditional scroll style. While this painting has a signature and seal, it has not yet been properly translated.
The cucumber is frequently used to make ‘spirit horses’, and they are a common sight during the Obon festivities. Four sticks are added to a cucumber or an eggplant to look like horses that the ancestors can ride to meet their families. These vegetable sculptures are becoming more elaborate in contemporary times.
Summer Day #1 (Natsu Hi #1)
by TANAKA Ryohei (1933-2019)
1985, Shōwa period
Etching: ink on paper
17.25 in. H x 14.25 in. W
Gift of Lawrence M. Wolf in memory of Katsuko Wolf
1997.028.002
An etching is a print made by carving into metal. Tanaka used copper plates, which he destroyed after printing an edition, in order to ensure that his prints were truly limited editions. In contrast to the shin hanga movement, which sought to revive the industry of traditional woodblock printing, Tanaka was considered a sosaku hanga artist, who conducted all the steps from design to print to publication himself. This is one of a set of four etchings by the artist donated together.
Tanaka was fond of preserving the rural Japanese architecture, as he was sad to see it disappearing in his lifetime. It is numbered 15 out of 120 total prints. In this composition, we find the traditional thatched roof of an old farmhouse emerging from the deep shadows of a summer’s day.
Lady of the Golden Blossoms
by OTSUKA Hisashi (b. 1948)
1989, Shōwa period
Lithograph: ink and colors on embossed paper
26.75 in. H x 22 in. W
Gift of Bruce and Susan Arbeiter
2020.011.005
A lithograph is a print made by carving stone or metal plates – rather than a wooden block – and affixes the ink by means of a chemical reaction. Offset lithographs, such as this one, are produced in large number on a commercial printing press (as opposed to hand pressed by the artist). This work is part of a larger series that features women in kimono with seasonal variations. This figure is associated with summer because of the irises and other flowers featured on the kimono.
Otsuka was born in Tokyo in 1948. He moved to Hawaii in 1979 and later naturalized to become a US citizen. This is just one of 54 works by this artist donated to the Morikami Museum by the Arbeiter Family.
