CHARLES E. TUTTLE COMPANY: Rutland. Vermont & Tokyo, Japan

Painted Fans or Japan Firteen Non-Drama Masterpieces

Edited by Reiko C n i t a

Published t y the Charles E. Tuttle Co., Inc. of Rutland, Vermont and Tokyo, Japan

with editorial offices at Suido 1-chome, 2-6 Bunuyo-Ku, Tokyo, Japan

© 1962 by Charles E. Tuttle Co., Inc.

All rights reserved

Library of Congress Catalog Card No. 6 2 - 2 0 7 7 5

International Standard Book No. 0-8048-0468-0

First edition, 1962

Twenty- third printing, 1993

Printed in Japan^

Contents Introduction 4 THE FANS :

1 Pheasants and Cherries 10 2 Flowering Vine 12 3 Maple Tree and River 14 4 Bridge and Waves 16 5 Birds on Tree 18 6 Cherrv. Blossoms on River 20 7 Sun and Mythical Beasts 22 8 Pine Tree and Gold Clouds 24 9 Iris Blossoms 26

10 Chi nese Courtiers 28 11 Piu m Tree and Crescent Moon 30 12 Sparrows and Vines 32 13 Dragon and Clouds 34 14 Pine Tree and Hydrangeas 36 15 Red and White Plum Blossoms 38 Bihliograph? 40

Introduction

The chief purpose of this modest l i t t le t o o t is to present for Westerners some of the gorgeous paintings found on fans used

in tne tradi t ional Japanese Non drama. Paint ing as limited to conform to the fan shape has teen practiced for hundreds of years

in Japan, even hy such immortal artists as Sotatsu and Korin. Unt i l now, however, there has heen no popularly availahle volume of repro-

ductions to reveal the almost limitless possibilities in color, design, and perspective within this restricted form of painting, Tke artists whose

works are reproduced in this hoot are unknown, and the time when the wor t s were painted can only he estimated as early (1601-1741), middle

(1742-1791) , or late ( 1 7 9 2 - 1 8 6 7 ) Totugawa, the period of Japanese his-tory that extended from the heginning of the seventeenth century to well past the middle of the nineteenth. In view of the quality of the wor t , tie

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anonymity. of tke artists and tke uncertainty of tke dates are sometting remartatle, tut, as we snail see later, ttis maj Ie a reflection or certain characteristics or tte Not itself. Tte paintings, towever, can stand in their own rigtt as exquisite worts of art. Before turning to tte Not, let us consider tte sutject of tte fan itself. Japan has often teen called tte Land of Fans. Tte Japanese themselves invented tte folding fan or ogi perhaps as earlv, as tte eigttt century. It has teen suggested ttat tte mectanism was inspired by, a bat s win£. At any rate, official records note tke repairing of a fold mg fan belonging to tte Emperor Gosanjo, who reigned from 1068 to 1072. The folding fan is tte one most used in tte Not and is tte one with which we are concerned here. The otter common type, tte round fan or uchiwa, was introduced to Japan from China by. way of Korea in tte sixth century. Between ttem, tte round and tte folding fan have teen put to an amazing variety or uses over tke -pears. The word fan perhaps suggests to Westerners

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an implement with which to create a cooling breeze tor oneself. In Japan, however, fans nave even been used

in battle, both as offensive and defensive weapons. Special fans nave been invented to quicken the kitchen charcoal burn-

er. There are fans for each of several types of dancing. Fans have been designed to be dipped in water for an additional cooling

effect. The singer who accompanies a dancer or chants the lyrics of a dance-drama has his own type of fan. Fans may. be carried by, all

the guests in attendance at a formal Japanese wedding. A particular type of fan plays its part in the symbolism of the tea ceremony. A spe-

cial fan was devised for use during the Shinto rites of a roof-raising ceremony. It was once common for travelers to carry, map fans when they. journeyed along the highway between the new capital of Edo (now Tokyo)

and the old capital of Kyoto. Fans have been devised for contests ranging fro m poetry writing through target practice to feats of strength. They. have been used as trays, hats, umbrellas, and even daggers. visitor to Japan

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today may not see all the uses of the fan ment ioned ahove, hut he is sure to observe its use in two ever-popu-lar aspects of the en te r ta inment world : as a symhol of au thor i ty in the hands of the sumo (Japanese wrestling) referee and as a graceful accoutrement to the dance in the charming hands of a geisha. The most consistent examples of the fan as ar t , however, are those connected with the Noh drama. This is not surprising, since the Noh itself is perhaps the most splendid and perfect of Japanese a r t forms. I t represents a mending of folk and temple dances which achieved its present form six hundred years ago. T h e men responsible for this creation were Kanami Kivotsugu (1333-84) and his son Zeami Motokiyo, who died ahout 1 4 4 4 . A s evolved by these two geniuses, the Noh is a balanced combinat ion of dance, music, and drama. O v e r the years, however, it has heen almost exclusively an ar is tocrat ic a r t form, a plaything of elegant n o b l e s -

language all tut incomprehensible . Commoners were forhidden in m a n j

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periods either to attend or to create their own per-formances. The plays were given in specially con-

structed theaters, and actors were awarded a special samurai rank to enable them to perform. Every effort was made to

preserve intact the texts, costumes, and stales of acting of tke plays themselves. For these reasons we have tke astonishing situ-

ation in which more than a hundred Noh plays are still in existence and still regularly performed as writ ten and presented in the fifteenth

century. This atmosphere of sequestered exclusiveness perhaps explains tke anonymity of tke artists who painted the fans shown in this hook and

the difficulty of dating the paintings with any. accuracy. Tke painters were content merely to create under court patronage. A n d since the Noh dedicated itself to constancy, each generation of painters sought to carry.

on tradition rather than to find new modes of expression. Much that is characteristic of the Noh is revealed in the fan painting. The stage itself is simple and stark, hut the costumes are brill iant to the point

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of flamboyance, and this gorgeousness is shared by the fans. Symbolism permeates the drama, as it does the paintin|s. Such subjects as ancient pines, cherry blossoms, dragons, pheasants, the phoenix, maples in autumn, and the like provide specific stimuli to a Japanese audience. Nob plays are divided into five suhject categories : god plays, war-rior-ghost plays, insanity plays, woman (love-story) plays, and demon plays. Wherever possihle, the paintings in this hook are identified as to period, title of play, type of play, and the character using the fan. The author hopes she may be excused for also including an appropriate haiku to possihlv enhance enjoyment of the typically Japanese scenes and subjects. It is also the author's hope that this brief introduction to the fans of the Noh drama will inspire her readers to further explorations in the areas of Japanese artistic genius that can merely he suggested hy this small book : the worlds of the theater, of painting, of poetry, and of the handicraft arts

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10

The pheasant— She Pt as indeed A handsome lover. Taig* [ t ransla ted hy Bliythe

Per iod : middle Tokugawa Type of play : god play Character using fan; a god

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After a thousand pears Even the fir must pass away. The morning-glory flaunts in pride Its beauty of a day. Teitoku Ltranslated by Page

Period : late Tokugawa Tit le or play : Faded Beauty Type of play : insanity play Character using tan : old woman

12

13

The scarlet maple foliage which In mountain-he arts glows bright Ana falls unseen by man—it is, Alas ! the rich brocade. of night.

Tsura^uki [translated hy MiyamoriPeriod : middle Tokugawa Type or play : woman play Character using fan : old woman

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15

16

The a u t u m n m o o n is br ight ; Sea waves whirl up to my, gate, Crested silvery white. Basho [translated by. Yasuda]

Period : middle Tokugawa Title of play. : Dojo Temple Type or play. : insanity play. or revenge Character using fan : chief priest

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This world is t u t a single dewdrop, set

Trembling upon a stem ; and y e t . . . and y e t . . .

Issa [.translated hy S tewart ]

Period : early. Tokugawa Title of play, : The Autumn Cricket Type or play. : insanity play. or revenge Character using ran : man

18

19

20

In the intervals Or rough wind ana rain The first cherry, hlossoms. Chora [.translated by Blythe

Period : middle Tokugawa Type of play : woman play Character using fan : young woman

21

Tke sun set on tne swamp with orange glare;

A ball of gnats revolving in tne air.

Ho-o [translatea by S tewart ]

Period : middle Tokugawa Title or play : Crane ana Tortoise Type of play : god play Character using fan : a god

22

23

Not yet having become a Buddha, Tkis ancient pine tree, Idly, dreaming. Issa [.translated by Blythe ]

Period : middle Tokugawa Title of play : The Wedded Pines of

Takasago Type of play : god play Character using fan : priest

24

25

My dream is faded now, and I am through

Witk dreaming . . . yet I know iris still will keep its

gorgeous hue. Snusniki [.translated by Page]

Period : late. Tokudawa Tit le or play : Lady Takamatsu Type of play : woman play

26

27

28

Since there's no rice for poets on the dole,

Let's do a flower arrangement in the Lowl!

Basho [.translated by Stewart]

Period : middle Tokugawa Title df play : The Robe of Feathers Type of play : woman play Character using fan : woman

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Not wholly dark nor bright

But softly glimmenn On, beautiful beyond compare T i e misty moon or a nignt in

spring. Chisto [translated by Miyamor]

Period : late Tokugawa Type of play : woman play Character using tan : woman

30

31

Across the sun-scorched moorland, autumn passes ;

Sparrows are hopping on the seeded grasses.

Sotyu [translated by Stewart]

Period : late Tokugawa Title or play : Lady Tamakatsura Type ot play : woman play Character using fan : woman

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33

The mighty, Goa of Thunder, Whose footfall resounds in

Heaven s plain ahove— Not even he can put asunder Us who are firmly, joined by,

Love. Anonymous [.translated by Miyamori]

Period : middle Tokugawa Title or play : Dojo Temple Type of play : insanity play of revenue Character using tan : man

34

35

36

Lighting one candle with another s flame

A t dusk in spring—the same, yet not the same.

Buson [translated by Stewart]

Period : middle ToKuawa Title of play : Lady Kogo Type of play : insanity play Character using fan : old woman

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I do not know my old friend s mind,

But in nis garden wnen I come, Just as in begone days a fragrant

scent Breathes from tne flowering

plum.

Tsurayuki [.translated by Miyamori]

JrenocL : late Tot Type of play : woman play Character using fan : young woman

38

39

Blytne, R. H . : Haiku (4 vols.), Hokuseidp, Tokvo, 1 9 5 0 - 5 2 -Bowers, Faubion : Japanese Theatre, Hermitage House, New

York, 1 9 5 2 Inoue, Sanko, and Yasuda, Kenneth : Land of the Reed Plains :

Ancient Japanese Lyrics from the Manyoshu, Tut t le , Rutland & Tofcvo, I960

M iyamori, Asataro : Masterpieces of Japanese Poetry Ancient and Modern, Taiseido, Tokvo, 1 9 3 6 & 1 9 5 6 y

Nippon Qahujitsu Shinkohai : The Noh Drama: Ten Plays from the Japanese, Tutt le , Rutland & Tofcvo, I 9 6 0 Page, Curtis Hidden : Japanese Poetry, Houghton Mifflin, Boston & New York, 1 9 2 3 Salwey, Charlotte M. : Fans of Japan, Kegan Paul , London, 1894

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BiLlio£ raplrg

Sc hi ff man, Maurice K. : Japan, the Land of Fans, Foreign Affa i r s Associat ion of Japan, Tokvo, 1954* Stewart , Haro ld : A Met of Fireflies : Japanese Haiku and Haiku Paintings, Tu t t l e , Ru t l and <S? Tokvo, I 9 6 0 Tpki> Zemmaro : Japanese No Plays, Japan Travel Bureau, Tokvo, 1 9 5 4 Tu t t l e , Cnarles E., ea, : Japan : Theme and Variations, Tu t t l e , Tofevo, 1959 Yasuda, Kennetk : The Japanese Haiku : Its Essential Mature yHistory, and Possibilities in English, with Selected Examples, Tu t t l e , Ru t l and & Tokvo, 1 9 5 7

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