鉄線に雀 [adapted title]
tessen ni suzume
Clematis and Sparrows
テッセンにスズメ
Edition I (only edition): | 楽山篁子生 | Raku-zan Kou-shi-sei | + Seal C |
[For illustration of seals listed by seal code letter, see the Seals article.]
Series History and Definitions: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. 133-2 is the Fan Series design with fan shape 2 in the 133 Clematis theme. Like all other designs in this series, 133-2 was only produced in a single print run, and few copies are currently documented.
Theme History:The signature and seal markings suggest that the designs in the 133 Clematis theme were produced in at least two stages. Two of the five fan designs in this theme (including 133-2) and the 36 Series design 133 have seal C which indicates a carving date during the first half of 1934. Despite the early completion of some of its wooden blocks, Rakusan delayed printing and distribution of the prints in what became the 133 Clematis theme until the following year. It was eventually grouped with other summer season themes nearer to the end of the series. The other three fan designs have seal B which suggests that those designs were carved closer to the time of publication.
The designs of the 133 Clematis theme (and of the immediately preceding 132 Changeable Rosemallow 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 133 Clematis theme, three of the five Fan Series designs (including 133-2) are taken directly from TBS, and the other two are original designs which are only partially in the TBS style. The 36 Series design 133 is also taken in part from TBS, but has been adapted in Rakusan's own style.
Description:![]() model for 133-2 (from TBS Harvard 1940.165.59) |
![]() 133-2 as originally drawn (reconstruction) |
Eurasian Tree Sparrow, Passer montanus, is today written in Japanese ornithological texts as スズメ, suzume, where it refers only to this species. However, 雀, suzume, remains a very common general name for any sort of small sparrow or sparrow-like bird in modern Japanese.
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133-1 | 133-3 | 133-4 | 133-5 | 133 |
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3 | 50 | 110-5 | 113-3 | 116-1 | 122-1 |