Currently Documented Edition Signature and Seal Markings:
||+ Seal B
[For illustration of seals listed by seal code letter, see the Seals article.
For edition and dating characteristics applicable to the entire series, see the Editions article.]
Indentification of this design as number 128 is original to Rakusan who designated this woodblock print as the 128th design published in his main sequence.
However, 128 is actually the twenty-eighth of thirty-six woodblock prints in Rakusan's second main sequence series,
篁子生画選, Koushisei Gasen
, lit. 'Koushisei's Print Selection' (usually called here the 36 Series
The woodblock print of 128 was adapted from an actual-size original painting on silk created approximately in mid to late 1934.
All of the original prototype paintings for this series are currently in a single private collection.
[Images of this painting 128-0 will eventually be posted here.]
Like most 36 Series designs 128 has the same signature and seal combination on every copy.
Therefore, for 128 only a single extended edition I (which includes reprintings both before and after World War II) can be distinguished.
It is usually only possible to date an individual loose print of 128 with edition I markings by listing approximate potential ranges of 1935-1941 and 1948-1955.
The copy illustrated above is typical of edition I.
The earliest 36 Series prints were delivered tipped into recessed wells of presentation sheets embossed in their lower margins with the series title.
Because all early edition I prints once had these presentation sheets, a copy which retains its presentation sheet must have been printed during the 1930s.
After his supply of presentation sheets was exhausted, Rakusan distributed subsequently-reprinted copies loose.
A limited number of leftover earlier-printed copies of some designs on presentation sheets were still being distributed shortly after World War II, but by then most designs were only available as loose sheets.
However, absence of presentation sheets is not diagnostic of later printings because many early prints have subsequently been detached from theirs.
The Rakusan project which produced 篁子生画選, Koushisei Gasen
, resulted in two related series of woodblock prints.
Each print of the 36 Series
is intimately connected to a group of prints with the same subjects in the Fan Series
Together these subject-related prints in the two series constitute a theme.
By this point late in the series, all of the themes, including this one, are entirely regular.
Each theme typically consists of a quintet of monochrome Fan Series
designs (one design in each of the five fan shapes), plus one polychrome,
design which illustrates the theme subject.
The theme is labeled here by the original Rakusan number of its 36 Series
design followed by the subject.
128 is the 36 Series
design of the 128 Japanese Iris
The Fan Series prints of the 128 Japanese Iris theme were distributed in early 1935 in installment ten (of twelve), but the delivery documents for installment ten remain to be discovered. The series as originally announced would have seen this installment published in October 1934. However, with documented delays the earliest month it could actually have been delivered is January 1935, and it may well have been even further delayed. The woodblock prints would have been printed during the same month as their distribution.
All five of the Fan Series designs in the 128 Japanese Iris theme have seal C which indicates a carving date in the period between late 1933 and the end of the first quarter of 1934.
Despite the early completion of those wooden blocks, Rakusan delayed printing and distribution of the prints in this theme until the following year. Publication of the 128 Japanese Iris theme was combined with two other spring season themes nearer to the end of the series. The 36 Series design 128 has seal B which indicates a later carving period closer to the time of publication.
128 is the second of two iris themes in the 36 Series.
Much earlier in the series Rakusan created the 102 Rabbitear Iris theme which is irregular in its arrangement.
The 128 Japanese Iris theme represents a separate, subsequent, addition to the series which is entirely distinct from the 102 Rabbitear Iris theme.
At least some of the designs in both iris themes were adapted from iris sketches originally created in the late 1920s during the planning of the earlier 100 Series. The 128 Japanese Iris theme is related to design 47, and the 102 Rabbitear Iris theme to designs 23alt and 23 (see below).
Japanese Iris, Iris ensata
, 花菖蒲, はなしょうぶ, ハナショウブ, hana-shoubu
, is a wetlands iris native to Japan. Japanese iris has been bred into numerous garden forms which are grown in temperate zones throughout the world.
There are many Japanese names for kinds of iris, and considerable hybridizing and selection have linked the original individual species into a complex continuum.
The general name for any waterlily (genus Nymphaea) is 睡蓮, すいれん, スイレン, suiren.
It is also used as the species name for Pygmy Waterlily, Nymphaea tetragona. Another name for Pygmy Waterlily is , 未草, ひつじぐさ, ヒツジグサ, hitsuji-kusa. The small scale of the plant in 128 suggests this species.
128 is the only known design in which Rakusan included tadpoles, 蝌蚪, 御玉杓子, お玉杓子, おたまじゃくし, オタマジャクシ, otama-jakushi.
(蝌蚪 can also be read かと, カト, kato.)
The details are insufficient to identify the kind of tadpoles more closely.