By Ohki Sadako , β¦
Ohki Sadako, Haliburton Adam, 2020
ΠΡΠΎΡ ΠΏΡΠ΅ΠΊΡΠ°ΡΠ½ΡΠΉ ΡΠΎΠΌ ΠΏΠΎΡΠ²ΡΡΠ΅Π½ ΡΠΏΠΎΠ½ΡΠΊΠΎΠΉ ΡΡΠ°Π΄ΠΈΡΠΈΠΈ Π³ΡΠ°Π²ΡΡΡ ΡΡΡΠΈΠΌΠΎΠ½ΠΎ, ΠΏΡΠΎΡΠ²Π΅ΡΠ°Π²ΡΠ΅ΠΉ Π² ΠΏΠ΅ΡΠΈΠΎΠ΄ ΠΠ΄ΠΎ (ΠΏΡΠΈΠΌΠ΅ΡΠ½ΠΎ Ρ 1800 ΠΏΠΎ 1840 Π³ΠΎΠ΄). Π‘ΡΡΠΈΠΌΠΎΠ½ΠΎ, ΡΡΠΎ Π² ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Π΅ Ρ ΡΠΏΠΎΠ½ΡΠΊΠΎΠ³ΠΎ ΠΎΠ·Π½Π°ΡΠ°Π΅Ρ "ΠΏΠ΅ΡΠ°ΡΠ½ΡΠ΅ Π²Π΅ΡΠΈ", ΡΠΎΡΠ΅ΡΠ°ΡΡ Π² ΡΠ΅Π±Π΅ ΡΠ»ΠΎΠΆΠ½ΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΈ ΠΈΠ³ΡΠΈΠ²ΡΡ ΠΏΠΎΡΠ·ΠΈΡ. ΠΠ΅Π±ΠΎΠ»ΡΡΠΈΠ΅ ΡΠΈΡΠ°ΠΆΠΈ ΠΈ ΡΠΊΡΠΊΠ»ΡΠ·ΠΈΠ²Π½ΠΎΡΡΡ Π°ΡΠ΄ΠΈΡΠΎΡΠΈΠΈ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ»ΠΈ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΡ Π² ΡΡΠΈΡ Π³ΡΠ°Π²ΡΡΠ°Ρ ΡΠΎΡΠΊΠΎΡΠ½ΡΠ΅, Π½ΠΎ ΡΡΠΎΠ½ΡΠ΅Π½Π½ΡΠ΅ ΠΌΠ΅ΡΠΎΠ΄Ρ ΠΎΠ±ΡΠ°Π±ΠΎΡΠΊΠΈ ΠΏΠΎΠ²Π΅ΡΡ Π½ΠΎΡΡΠΈ, ΡΠ°ΠΊΠΈΠ΅ ΠΊΠ°ΠΊ ΡΠΈΡΠ½Π΅Π½ΠΈΠ΅ ΠΈ Π·ΠΎΠ»ΠΎΡΠ΅Π½ΠΈΠ΅.
Π‘ΡΡΠΈΠΌΠΎΠ½ΠΎ ΡΠ΅Π½ΠΈΠ»ΠΈΡΡ Π·Π° ΡΡΠ΅Π½ΡΠ΅ Π°Π»Π»ΡΠ·ΠΈΠΈ Π½Π° Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ ΠΈ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ ΠΊΡΠ»ΡΡΡΡΡ. ΠΠ½ΠΈ ΠΏΡΠΎΠ΄ΠΎΠ»ΠΆΠ°ΡΡ Π²ΠΎΡΡ ΠΈΡΠ°ΡΡ ΠΈ ΠΎΠ·Π°Π΄Π°ΡΠΈΠ²Π°ΡΡ ΡΡΠ΅Π½ΡΡ ΡΠ²ΠΎΠΈΠΌΠΈ Π²ΠΈΠ·ΡΠ°Π»ΡΠ½ΡΠΌΠΈ ΠΊΠ°Π»Π°ΠΌΠ±ΡΡΠ°ΠΌΠΈ ΠΈ ΠΈΠ³ΡΠΎΠΉ ΡΠ»ΠΎΠ². ΠΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΡ Π²Π°ΡΡΠΈΡΡΡΡΡΡ ΠΎΡ ΠΈΠ·ΡΡΠ½ΡΡ , Π΄ΠΎΠΌΠ°ΡΠ½ΠΈΡ Π½Π°ΡΡΡΠΌΠΎΡΡΠΎΠ² Π΄ΠΎ ΠΆΠΈΠ²ΡΡ Π²ΠΈΠ½ΡΠ΅ΡΠΎΠΊ ΠΈΠ· ΠΌΠΈΡΠ° ΠΏΡΠΈΡΠΎΠ΄Ρ, Π° ΡΡΠΈΡ ΠΈ ΡΠ°ΡΡΠΎ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΡΡ ΡΠΎΠ±ΠΎΠΉ Π±Π΅Π·Π·Π°Π±ΠΎΡΠ½ΡΠ΅ Π²Π°ΡΠΈΠ°ΡΠΈΠΈ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΡΠΏΠΎΠ½ΡΠΊΠΎΠΉ ΡΠΎΡΠΌΡ Π²Π°ΠΊΠ°. ΠΠ½ΠΈΠ³Π° ΡΠΎΠ΄Π΅ΡΠΆΠΈΡ ΠΈΠΌΠ΅Π½Π° ΠΈ Π½Π°Π·Π²Π°Π½ΠΈΡ Π½Π° ΡΠΏΠΎΠ½ΡΠΊΠΈΡ ΡΠΈΠΌΠ²ΠΎΠ»Π°Ρ ΠΊΠ°Π½Π΄Π·ΠΈ, Π° ΡΠ°ΠΊΠΆΠ΅ ΡΡΠ°Π½ΡΠ»ΠΈΡΠ΅ΡΠ°ΡΠΈΠΈ ΠΈ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Ρ ΡΡΠΈΡ ΠΎΠ², ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½Π½ΡΡ Π½Π° Π³ΡΠ°Π²ΡΡΠ°Ρ .
"ΠΡΠΈΠ²Π°ΡΠ½ΡΠΉ ΠΌΠΈΡ ΡΡΡΠΈΠΌΠΎΠ½ΠΎ" ΡΠ»ΡΠΆΠΈΡ Π²Π°ΠΆΠ½ΡΠΌ ΡΠ΅ΡΡΡΡΠΎΠΌ Π΄Π»Ρ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°ΡΠ΅Π»Π΅ΠΉ ΡΠΏΠΎΠ½ΡΠΊΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΈ ΠΈΡΡΠΎΡΠΈΠΈ, Π° ΡΠ°ΠΊΠΆΠ΅ ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ ΡΠΈΡΠΎΠΊΠΎΠΌΡ ΠΊΡΡΠ³Ρ ΡΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ ΠΏΠΎΠ½ΠΈΠΌΠ°Π½ΠΈΠ΅ ΡΡΠΎΠΉ ΡΠ΅Π΄ΠΊΠΎΠΉ ΠΈ Π½ΠΎΠ²Π°ΡΠΎΡΡΠΊΠΎΠΉ ΡΠΎΡΠΌΡ ΠΏΠ΅ΡΠ°ΡΠΈ. ΠΠ½ΠΈΠ³Π° ΡΠ°ΡΠΊΡΡΠ²Π°Π΅Ρ ΠΊΡΠ»ΡΡΡΡΠ½ΡΠ΅ ΠΊΠΎΠ΄Ρ ΡΠΏΠΎΡ ΠΈ ΠΠ΄ΠΎ, Π΄Π΅ΠΌΠΎΠ½ΡΡΡΠΈΡΡΡ, ΠΊΠ°ΠΊ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΈ ΠΈ ΠΏΠΎΡΡΡ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π»ΠΈ ΡΡΡΠΈΠΌΠΎΠ½ΠΎ Π΄Π»Ρ ΠΏΠ΅ΡΠ΅Π΄Π°ΡΠΈ ΡΠ»ΠΎΠΆΠ½ΡΡ ΠΈΠ΄Π΅ΠΉ ΠΈ ΡΠΎΡΠΈΠ°Π»ΡΠ½ΡΡ ΠΊΠΎΠΌΠΌΠ΅Π½ΡΠ°ΡΠΈΠ΅Π².
Ohki Sadako, Haliburton Adam, 2020
This beautiful volume celebrates the tradition of Japanese surimono prints, which flourished during the Edo period (circa 1800 to 1840). Surimono ("printed things" in Japanese) combine intricate artwork and playful poetry. Their small print runs and exclusive audiences allowed for lavish yet subtle surface treatments, such as embossing and gilding, making each print a unique work of art.
Enjoyed for their learned allusions to literature and contemporary culture, surimono continue to delight and perplex scholars with their visual puns and wordplay. Imagery ranges from delicate, domestic still lifes to spirited vignettes of the natural world. The poems are often lighthearted takes on the classical Japanese waka form, adding another layer of complexity and enjoyment.
With its rich text and scholarly apparatusβincluding names and titles in kanji characters as well as transliterations and translations of the poems on the catalogued printsβ"The Private World of Surimono" serves as a critical resource for scholars of Japanese art and history. It also offers general readers insight into this rare and innovative print form, revealing the cultural codes of the Edo period and demonstrating how artists and poets used surimono to convey complex ideas and social commentary.