Signature and Seal Markings:
|Edition I (only edition):
||+ Seal C
[For illustration of seals listed by seal code letter, see the Seals article.]
Series History and Definitions:
During the two years between mid 1933 and mid 1935 Rakusan produced a series of one hundred eighty individual woodblock-printed fan designs.
These fan designs are printed as negative images with a single impression of black ink.
Although all are actually woodblock prints, this traditional negative-image printing style is called 石摺(り), ishi-zuri
, lit. 'stone rubbing', from its superficial resemblance to that technique.
Rakusan called this series
篁子生石摺画選, Koushisei Ishizuri Gasen
, lit. 'Koushisei's Stone-rubbing Print Selection', but it is usually called here the Fan Series
Rakusan arranged the Fan Series prints into shared-subject groups typically consisting of one design in each of five different fan silhouette shapes.
Each of these groups of Fan Series designs are united by a corresponding polychrome 36 Series design which defines the subject.
Each shared-subject Fan Series group and its 36 Series design together comprise a theme (画題, gadai).
Rakusan did not include the Fan Series in his main sequence numbering.
Therefore, the original number used for each of the 36 Series prints has been modified to identify the Fan Series members of its theme.
The five different fan silhouette shapes have been here assigned arbitrary numbers 1 through 5.
To indicate a fan design these shape designations are added to the 36 Series number separated by a hyphen.
111-3 is the Fan Series design with fan shape 3 in the 111 Grape theme.
Like all other designs in this series, 111-3 was only produced in a single print run, and few copies are currently documented.
The 111 Grape
theme is one of the many entirely regular themes represented by a complete fan quintet and a color woodblock print.
The Fan Series
designs in the 111 Grape
theme were produced as woodblock prints in June 1934 and distributed June 25, 1934 in installment four (of twelve). On the documents attached to the delivery folio envelope Rakusan used the theme subject title, 葡萄, budou
, 'grape', which would also have been the title of 36 Series
design 111 issued at the same time.
The individual designs in the 111 Grape theme were completed in at least two stages.
Two of the five fan designs (including 111-3) have seal C which indicates a carving date during the first half of 1934.
However, the other three fan designs and the 36 Series design 111 all have seal B which indicates a later carving period closer to the time of publication.
(The 111 Grape theme is unusual in its seal markings in having a majority of the designs with seal B.)
In early 1934 when Rakusan did a major rearrangement of his themes, all three themes with fruit subjects (what became themes 110, 111, and 112) ended up as installment four. (They are also consecutive with theme 109, the only vegetable subject theme.)
In this project Rakusan openly experimented with mining an external source for some of his designs, Ten Bamboo Studio Manual of Painting, 十竹斎書画譜, Jitchikusai Shogafu.
Here abbreviated TBS, this very famous, historic, and influential design book was first printed in China in the 17th century.
TBS has been reproduced and reprinted in both China and Japan many times since, and
Rakusan would likely have used one of the later Japanese monochrome translations. (An article exploring all of Rakusan's adaptations from TBS is in preparation.)
Rakusan completed each of the three themes in installment four with a single design taken from TBS. 111-3, the TBS design in the 111 Grape theme is one of the earlier seal C designs, and it clearly is in a style different from all of the others in the theme.
At least some of the grape designs were adapted from sketches originally created in the late 1920s during the planning of design 32 of the earlier 100 Series.
In the title-caption for 32 Rakusan calls the grape illustrated there Wild Grape, 野葡萄 (which also can be written 野ぶどう, 野ブドウ, のぶどう, ノブドウ), no-budou, lit. 'field-grape'.
However, the bird in 32 is an aviary specimen; and the grape, which is indistinguishable from those in the 111 Grape theme, is probably actually a cultivated vine.
The bamboo pole supports shown in 111 and 111-2 confirm that those grapevines are certainly under cultivation.
The entire composition of 111-3, which consists solely of a single large bunch of grapes, is taken directly from a version of the TBS
design shown below. All of the elements are carved so that the ishizuri version is an exact negative of the original model.
Rakusan matched the style of the original which makes this design look very different from all of the others in its theme since each of those was executed in his own style.
This source example comes from a polychrome version in the collection of the Harvard Art Museums, but Rakusan likely used a monochrome edition as his pattern:
model for 111-3 (from TBS part 4 Fruit) [Harvard Art Museums: 1940.165.65]
The woodblock print of 111-3 was modeled closely on an actual-size original sumi sketch which although lost can be reconstructed by digitally reversing the image of the woodblock print:
111-3 as originally drawn (reconstruction)
Grape, Vitis vinifera
, 葡萄, ぶどう, ブドウ, budou
, is a fruiting vine commonly grown in Japan.