Currently Documented Edition Signature and Seal Markings:
||+ Seal C
[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 132 is original to Rakusan who designated this woodblock print as the 132nd design published in his main sequence.
However, 132 is actually the thirty-second 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 132 was adapted from an actual-size original painting on silk.
All of the original prototype paintings for this series are currently in a single private collection.
[Images of this painting 132-0 will eventually be posted here.]
Like most 36 Series designs 132 has the same signature and seal combination on every copy.
Therefore, for 132 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 132 with edition I markings by listing approximate potential ranges of 1935-1941 and 1948-1955.
The copy illustrated above is typical of an early printing of edition I.
(Later copies show background variations in the extent and saturation of the gray bokashi shading, but there is currently insufficient evidence to define color morphs for this design.)
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.
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.
132 is the 36 Series
design of the 132 Changeable Rosemallow
The 132 Changeable Rosemallow theme is one of the many entirely regular themes represented by a complete fan quintet and a color woodblock print. 132 and three of the five Fan Series designs have seal C which indicates carving dates between the last months of 1933 and the end of the first quarter of 1934. However, the remaining two Fan Series designs have seal B which indicates a later carving period closer to the time of publication. The 132 Changeable Rosemallow theme was eventually grouped with other summer season themes near the end of the series.
Rakusan deliberately repositioned 132 immediately after 131, the only other 36 Series design with falling rain.
As in 131, the rain and water on the leaves are printed in silvery ink.
The Fan Series prints of the 132 Changeable Rosemallow theme were distributed in early 1935 in installment eleven (of twelve), but the delivery documents for installment eleven remain to be discovered. The series as originally announced would have seen this installment published in November 1934. However, with documented delays the earliest month it could actually have been delivered is February 1935, and it may well have been even further delayed.
The designs of the 132 Changeable Rosemallow theme (and of the immediately following 133 Clematis theme) look very different from others in this series.
These two themes include most of the examples in this project where Rakusan openly experimented with mining an external source for his designs.
The majority of the designs in each of these two themes were taken directly from ones found in the Ten Bamboo Studio Manual of Painting,
十竹斎書画譜, Jitchikusai Shogafu, a very famous and influential design book (here abbreviated TBS).
First produced in China in the 17th century, TBS has been reproduced and reprinted in both China and Japan many times since.
Rakusan would likely have used one of the later Japanese translations.
In homage to this very well known source, Rakusan presented his Fan Series designs of these two themes in the original TBS style rather than in his own.
(This experiment also included a scattering of additional designs in other themes.
An article exploring all of Rakusan's adaptations from TBS is in preparation.)
In the 132 Changeable Rosemallow theme, four of the five Fan Series designs are taken directly from TBS, and the other is an original design in the TBS style.
However, the 36 Series design 132 is entirely a Rakusan original composition in his own style and only the subjects are borrowed.
The combination of kingfisher and changeable rosemallow in 132 was probably suggested by 132-2, one of the designs from TBS.
The positioning of the bird on a bamboo stake over the water indicates a garden setting.
Changeable Rosemallow, Hibiscus mutabilis
, 酔芙蓉, すいふよう, スイフヨウ, sui-fuyou
is a distinctive shrub whose flowers open white and change to pink and then rose as the blossoms age.
酔, すい, スイ, sui
, here means ‘intoxicated’; presumably for the gradual reddening of the flower.
All of the examples in the 132 Changeable Rosemallow
theme, including 132, show fully double flowers, but single flowers also occur.
It was often grown in gardens in the southern United States where it received many of its English common names
including also Confederate Rose, Cotton Rosemallow, and Flowering Cotton.
(The cotton plant grown commercially for fiber is a related species.)
Common (River) Kingfisher, Alcedo atthis, 翡翠, 川蝉, かわせみ, カワセミ kawa-semi, 'kingfisher', is native to much of Eurasia, including Japan.
Although there are other native kingfishers in Japan, Rakusan was very fond of this species, and he used it in several artworks.