Sugimura Jihei
Japanese, flourished ca. 1681 - 1703
Evidence from contemporaneous sources on the life of Sugimura is scant. The earliest known reference to the artist is in the "Edo Zukan Kompuku," a directory of Edo artists published in 1689, where he is listed under the heading "Woodblock Artist, Sugimura Jihei Masataka, Tori Abura-chö (his address)." In a second source, the "Yösha Bako" (The Wastepaper Basket), published in 1841 by the essayist Ryütei Tanehiko (1783-1843), Sugimura is listed as the illustrator of two books, one dated 1682 and the other 1684, neither of which is believed to be extant today.
Six signed and dated books by Sugimura survive, and are the basis for establishing the seventeen-year working period attributed to him. It is from these key books and the several prints bearing his cryptic signature that Sugimura's stylistic individuality has been determined. One of Sugimura's most interesting books, containing a number of literary "mitate" (among the earliest visual "mitate" known), suggests the importance of literary allusion in the artist's work. This is in sharp contrast to the book illustrations of Moronobu, the "pure artist" whose work is practically devoid of such allusion. Moreover, where the greater part of Moronobu's printed work is found in illustration, Sugimura seems to have concentrated on single sheets, both print and album. In fact, the earliest signed "kakemono-e" print attributable to a known master is by Sugimura, working in the late 1680s (Jenkins, No. 18, p. 40).
The Academy's documentation of Sugimura, three erotic album leaves, dates from the artist's peak years in the mid-1680s. There is a certain grandeur and freshness in the compositions of these sheets and a clear emphasis on the richness and animation of the "kimono." Sugimura was, without question, a very imaginative and original artist whose influence on later "ukiyo-e" was considerable.
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DETAILED DISCUSSION: in 1921, the noted scholar, Shibui Kiyoshi, then a student at the newly formed Department of Fine Arts at Keio University, and an avid collector of ukiyo-e catalogues published in the West, noted some curious oddities on prints attributed to Hishikawa Moronobu. Several single-sheet examples bore the Chinese ideographs "Sugi," or Sugimura, but always carefully worked into the kimono patterns of his figures. An investigation ensued and out of it emerged an entirely new artist who had no previous existence so far as we were concerned.
Evidence from contemporaneous sources is incredibly scant, perhaps accounting for our total neglect of the artist. Sugimura Jihei, until recent years. In the "Edo zukan-kompu" (The Directory of Edo Artists) published in 1689, he is listed under this heading: "Woodblock Artist"; Sugimura Jihei Masataka, Tori Abura-cho (his address). This is the earliest known reference to the artist, and proves beyond questions that such a man did indeed exist. A second reference has been uncovered in a work called "Yosha Baku," dated 1841, by the well-known essayist, Ryutei Tanehiko (1783-1843). Sugimura is noted here as the author of two books, one dated 1684 and the other dated 1682. Neither work is believed to be extant today. Dr. Shibui lists six dated books in his detailed study of the artist which he indicates to be from the hand of Sugimura.(8) This material established a seventeen-year working period from 1681 to 1697 and provides us with an indispensable index of soundly dated art upon which to build a likely oeuvre. To this list of key art Dr. Shibui has added nine additional books on the basis of style, the earliest dated 1682.(9)
The Honolulu Academy is fortunate to have a few choice Sugimura single-sheets from his prime years. We show here two examples. "Lovers By a Screen." Cat. 5, can be assigned to the mid-1680s. The "yoko-e sumizuri-e" shows a young samurai practicing with a small hand-drum. He is interrupted by the embrace of a maiden. The second design, it too a "yoko-e sumizuri-e," but with the addition of hand coloring shows two lovers being watched by an attendant. The pigments are a kind of soft water color, presaging the "beni-e" and "urushi-e" prints which began to appear around 1705. In the deft hand of Sugimura, such coloring blends perfectly with the dynamic line of the configuration, actually adding a sensuousness to the total mood. In this respect, Sugimura outrivaled Moronobu, whose powerful linear treatments suffer from the addition of color pigments. Further comparison of the art of Sugimura with that of Moronobu suggests that Sugimura apparently lacked training in classical painting. If we compare certain poetry books, we observe that Sugimura's female figures are voluptuous and real. They are totally devoid of any literary allusions, while Moronobu's figures maintain a quality and iconography which often places them above the mundane everyday types that seem to be preferred by Sugimura. And if we consider all the recent re-attributions to Sugimura of prints once thought to be by Moronobu, it is clear that Sugimura's activity centered in the field of single-sheet, while Moronobu worked primarily in book illustration.
Sugimura was clearly the most successful and prolific of Moronobu's rivals, particularly in the area of "shunga" in which he truly excelled. Because his prints were often hand-colored, stressing a more plastic design as opposed to Moronobu's strong emphasis on a powerful line, he may be thought of as one of the major artists directing the course of ukiyo-e away from linear strength and toward a greater interest in coloring. This, in combination with his preference for the single-sheet which was to prove the crowning achievement of the ukiyo-e school, suggests that Sugimura's influence on later ukiyo-e was considerable.
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SUGIMURA JIHEI - FOOTNOTES TO A BIOGRAPHY
His list of books is as follows:
a. "Hyakunin Isshu Kigin-shö," by Kitamura Kikin, a poet of the day whose dates are 1624 to 1702. The book is dated 1681 and is signed Sugimura Jihei "ga." The book, in "Tat-e" (large book size) deals with one hundred poems on the theme of the four seasons. It was printed in "sumizuri-e" by Seibei Yabuta of Tori Abura-chö. (This reference seems to be overlooked in most Western language discussions of the artist's work.)
b. "Renbozukishi Rakuasobi" (a game where anyone can do whatever he pleases without fear of social castigation). The subject is actually love pictures. The one-volume "sumizuri-e" book is dated 1681 and is a "tat-e" published by Seibei Yabuta of Tori Abura-chö. (English title: Anthology of Pleasure of Ease).
c. "Genji-ukiyo-fukusae" (Silk Designs of Genji done in ukiyo fashion), a "sumizuri-e" in two volumes published in 1684 by Yamagata-ya. Signed Sugimura Jihei, although the character for "Ji" of Jihei differs from the "Ji" used in contemporary references of the work listed under "b" of this note. Both have identical pronunciations suggesting that this is merely a case of "ateji," not uncommon in book publishing of this time. This book first came to the attention of Dr. Shibui in Von Seidlitz, "A History of Japanese Colour-Prints," where the work is listed incorrectly as that of Moronobu. The work shows one page from the illustrated book, dealing with two ladies in Genji court dress.
d. "Yamato Füryü e-kagami" (The Mirror of Old Japan in Modern Style), a one-volume "sumizuri-e," "tat-e" published by Yamagata-ya Ichirobei in 1684. The signature reads "Sugimura shi Hitsu," but in the preface the full name Sugimura Jihei occurs, the "Ji" character repeating the form found in "c" of this note and the "Sugi" character of Sugimura unlike that which has appeared in any of the references up to this point.
Shibui notes that this is one of the best examples of Sugimura's book art and along with our last example, "c", provides us with our best evidence for the style of Sugimura's art in the mid-1680s. Of particular note is the postscript which reads: "Although there are many picture-books circulating today, most of them fail to divorce themselves from out-dated style. Thus, we have composed the present volume and now publish it for the amusement of the public."
e. (Shinban) "Koshoku Daikokumai" (A New Version of the Lusty Dance of the Deity, Daikoku), a "sumizuri-e," "tat-e," published in five-volumes by Mataemon Misuya in 1696. In Volume I, pp 16-17, the illustration shows a fan with the character "Sugi" appearing on it. This, along with the style, established authorship of the illustrations.
f. "(Shinsen) Kokusho Onshikimokueshö," a "sumizuri-e," "tat-e," complete in one volume, published by Sudo Gombee in 1697, signed Sugimura Jihei (the "Ji" character repeats the form found in "c" of this note, even though the publishers differ). In this book the artist writes: "One day, the publisher called upon me with this book and asked me to illustrate it. I did so as I could hardly refuse, but I am quite ashamed of my poor illustrations." For a more detailed discussion of these works in Japanese, see Shibui Kiyoshi and Kikuchi Sadao, "Ukiyo-e Hanga," Tokyo, 1964, Vol. 7, "Sugimura," Shueisha Publishing Co.
2. We will not repeat Shibui's attributions here. For a review of his identifications see Shibui Kiyoshi and Kikuchi Sadao, "Ukiyo-e Hanga," Vol. 7 Sugimura, Tokyo, Shuesha Publishing Co., 1964. Shubui also notes three large "kakemono-e" print designs which include the character "Sugi" and three more single-sheet attributions.
Research by: Howard A. Link.
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