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Coordinaci6n editorial: Carlos E. Palacios

Revisi6n de contenidos: Monserrat Sanchez

Correcci6n de estilo: Yaiza Santos

Traducci6n: Tanya Huntington, Michael Parker Stainback, J. Andres Valtierra

Fotografia: Agustin Estrada

Diserio: Udice Jimenez Uribe

Primera edici6n: 2014 D.R.© Museo de Arte Carrillo

Gil

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de Bellas Artes y Uteratura

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D.R © Banco de Mexico, Fiduciario en el Fideicomiso relativo a 105 Museos Diego Rivera y Frida Kahlo, Av. 5 de Mayo No.2, Col. Centro, Del. Cuauhternoc 06059, Mexico, D.F.

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la grabaci6n,

Impreso en Mexico I Printed in Mexico

raz6n de ser

,

OBRAS EMBLEMATICASOELA

COLECCICN CARRILLO GIL

OROZCO RIVERA SIQUEIROS PAALEN GERZSO

Carlo s E. Palacios

Editor / Editor

Mary K. Coffey , Karen Cordero Reiman, Natalia de la Rosa , Ruben Gallo, Amaury Garda R . , Ana Garduno , lbari Ortega , Carlos E. Palacio s, Ara H . Merjian Textos l r exts

~CONACULTA

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MUSED DE ARTE CARRIU

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SELECCION DE UKIYO-E DE LA COLECCION CARRILLO GIL

Comentada por Amaury Garda Rodriguez

Escena de fa apertura de fa tienda Echigo-ya en Surugacho ef 1ro de Noviembre Ki tagawa Ut a m a r o II ( ?- 1 83 1)

X il ograffa ukiyo-e po l icroma

T amano oban (370 x 250 mm)

E poca Bunk a (1804-1818)

E s t a estampa r epro d uce la ina ugu ra c i6 n de l a t ie n - da d e kimo no E chig o - ya e n el bar ri o de S uru ga c ho

e n E do. E n e l la se observa, a

E c h igo-ya , y a l fondo , el castil l o de E do con e l mon-

t e Fuji . Los tres s i tios eran m otivo de gran org ul lo para 105 habitantes de Edo , por ser 1 05 de mayor tamafio de su tipo en Jap6n . Se puede ver sobre l a avenida la puerta Kido , con l a que se controlaba e l acceso a este im p ortante barrio comercial .

la d e r ec h a, l a tienda

This print depicts the inauguration of the Echi- go-ya kimono store in the Surugacho district of Edo . In i t, the Echigo-ya store can be s een to the right and , i n the background , Edo castle beneath Mount Fuji . All three were cause for c onsiderable pride among the inhabitants of Edo a s the larg - est example s of their kind in all of J a pan . There is a lso a view of Kido Avenue, which provided access to this major business dist r ict .

207

Esta serie toma como referencia la famosa nove-

l a de l s i g l o XI Cuento de Genji para esta bl ecer un a

parodia entre l a h i storia de 105 amores del pr i nci- pe Genji y mujeres comunes de l a ciudad de Edo a pr i ncipios del s iglo XIX. La imagen , de la que se desconoce el titulo por falt a rle la parte superior , mue s tra a una joven que sostiene un abanico e n l a boca, enseria ligeramente su p i e y coquetea, mien-

t r as pasea e n e l ve r a n o. Ll eva ademas , co m o parte de su d i ve r sion , una caja con l uciernagas.

T itulo s i n identificar

de l a serie Los dace capitufas def Genji

K i k u kawa Eizan (1787- 1 867)

X il ogra f ia ukiya-e po li croma

T a r nano oba n (360 x 250 mm) Epoca Bunka (1804-1818)

This series takes as its of reference the renowned 11th century novel The Tales of Genji in order to establish a parody between the story of Prince Genji's b e loveds and common women from the city of Edo in the early 19 th century. The upper portion of the image is missing; therefore, its title is unknown . A young woman is portrayed hold- ing a fan in her mouth, flirtatiously revealing her foot while out on a stroll in the summertime. For her amusement, she also carries a box containing fireflies.

Prosti t u t a de alto rango (oiron) pasea n do can su ayuda n te (kamuro) bajo 1 05 cerezos en f l or. Duran - te el periodo Edo l as prostitutas de a l to range eran en e x tremo solicitadas por sus clientes ; sin embar- go , eran pocos 105 que rea l mente tenian l a posib i - lidad d e ser seleccionados por ellas . Las f l ares de cerezo eran sin6nimo de prostitutas bellas .

Prostituto Oi de 10 coso Ebi de l a serie Conjunto de fomosos y bel/os flores de los prostibulos

Kikukawa Eizan (1787-1867)

X ilografia ukiyo-e policroma

Tarnario oban (370 x 2 50 mm) Epoca Bunka (1804-1818)

A high-ranking prostitute (oiran) strolls with her assistant (kamuro) beneath blossoming cherry trees . During the Edo period, high-ranking pros- titutes were greatly sought after by clients; how- ever , few had any real chance of being accepted . Cherry blossoms were symboli c of beautiful prostitutes.

209

Ilustrac i 6 n d e l a l bum Una almohada fecunda

K e isai Ei se n ( 1790-1848 )

X il ograf f a ukiyo-e p o li c rom a

T a r nano o b a n (375 x 260 mm )

E p oca Bunka (1804 - 1818 )

L a e s t a mpa e r 6ti ca 0 shunga (imag e n d e primav e -

r a ) , como ta m bien s e conoc i a , fue uno de 1 05 gen e - ros m as populare s y ant i g uo s de l ukiyo-e. L a ima- ge n r e p re s e nt a a un hombre m a duro qu e c omi e nza

a d e s ves tir

d e su k i mono en serial de exc i taci6n . E ste t i po

i rnag e n e s , un t a nto ma s " discretas ', e ra comun que

se co l oca ran a l comienz o de un a lbum 0 l i bro e r6ti -

c o, por r e g i a g en e ral mu c ho m as e x plfcitos.

de

a una prostituta , quien mu e rd e e l cu e llo

210

The erotic print o r shunga (image of springtime), as it was also known, was one of the most pop- ular and ancient genres of ukiyo - e . The image repre s ents a mature man beginnin g to undre s s a prostitute, who is bitin g the collar of her kimono as a s i gn of arousal . These slightly more "discreet" image s wer e commonly placed at the beginning of erotic albums or book s, which tended to be far more explicit .

Ilu s traci6n del a lbum Una almohada fecunda

K e i s ai E isen (1790-184 8 )

X i l ograffa ukiyo-e policroma

Tarna n o oban (375 x 260 mm) Epoca B u n ka ( 1 804 - 1818)

L a es t a mp a

e r o ti ca a shunga ( im age n de prim a-

ve r a) , co mo t a m bi e n se co n o ci a, fu e un o

ge n e ro s m as p o pul a r es y a n t i g u os d e l ukiyo-e. L a

im age n r e pr ese nt a a un a pareja mad ur a, p robab l e- me n te esposos , que es t an justa e n e l p r earnbu l o de l a activ i dad a m o r osa. E ste t i po de image n es, un tanto mas "d i sc r etas " , era co r nun q u e se ca l ocaran al camienzo de un a l bum a li b r o erotica, par reg i a gene r al much o mas e x plfcitos .

d e 1 05

The erot i c print or shunga (image of springtime), as it was also known, was one of the most pop- ular and ancient genres of ukiyo-e. This image represents a mature, probably married couple engaging in foreplay. Somewhat more" discreet" images of this kind were commonly found at the beginning of erotic books or albums that were, as a general rule, far more explicit.

211

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a

~

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Yos h its un e, h eroe t r a g i co de J a p 6 n , d i cta un a ca r -

mi l ita r budi s t a , q ui e n fu e s u

s e r v id o r ma s im po rtan te. L as hi s tori as s obr e Yo s -

hit s un e a p a r ec i ero n r ecogi d as e n l a e pi ca Cantor de Heike, d el s i glo XIV , y fueran tema recurrente e n

ta a B e nk e i , sa c e rdote

e l genera de estam p as de gue r reros (musha-e), p o - pular desde fin a l es d e l s i g l o XV I II .

Los guerreros Minamoto Yoshitsune y Musashibo Benkei Kikuk awa E i zan ( 1787 - 1867)

X i l og r a fi a ukiyo-e p o li c rom a

T a m aiio oba n (370 x 2 4 0 mm)

Epoca B u n ka ( 1 804- 1 8 1 8)

Y os hitsun e , Japan's tragic hero, dictat e s a letter t o Benkei, the Buddhist m i litary priest who was hi s most fa i thful servant . Sto r ies ab o ut Yoshit - s une were c o mpiled in the epic The Tale of Heike dur i n g th e 14th c e ntury and were a recurrin g th e me in the genre o f warri o r prints (musha-e), w hich becam e p o pular in the late 18 th century .

En la im age n se apr ec i a n tr es muje re s fr e n te a un a

s ucur sa l d e l a ti e nd a I w aki -y a , co n e l nombr e d e

K orai-b as hi , famo s a e n O s ak a p o r s u g r a n t a rn a n o.

S e pu e d e ob se r va r t a m bien un a p a rt e d e l inte ri o r

d e l a ti e nd a y a s u s e mpl ea do s. Co rnu n rn e nt e,

es tamp as ukiyo-e ta rnbi e n ilu s tr a b a n l a v id a co- tidian a d e l a c iud a d y se r v i a n d e h e rr a mi e nt a d e public idad par a lo s n eg o c i os d e m o d a .

l as

Tres mujeres bel/as caminando frente a una tienda de kimono

K atsukawa S h unsen (1762-1830)

Xi l ograf f a ukiyo-e po l ic r oma

Ta rn ano oban (370 x 250 mm) Epoca Bu n sei (1818-1830)

In this image, three women can be observed out - side an Iwaki-ya store branch called Korai-bashi, renowned in Osaka for its great size. Also visible are the store's interior and several of its employ- ees. Ukiyo-e commonly illustrated daily life in the city, acting as an advertising tool for fashionable business establishments.

213

Dos mujeres j6venes, de fam il ias de comerciantes adin e r ados, s uj etan un a va r a, pro b ab l e m e nt e pa r a dar vueltas a un mol in o . Este t i po de ac t ividades no eran realizadas por mujeres acomodadas. En la imagen , tarnbien aparece un nino con un abanico decorado con un aguil a . Tanto el aguila como e l

m onte F u ji, s i t u ado a l fondo, son sfmbo l os de f e ll -

cidad y de buena fortuna.

214

Sin tftulo

K

i tagawa Utamaro I I (?-1831)

Xi

l og r afla ukiyo-e po li c r oma

Tarna n o oban (390 x 260 mm) Epoca Bunka (1804-1818)

Two young women from wealthy merchant fam- ilies hold a shaft, ostensibly in order to turn a mi l l . This was not, however, the kind of activity indulged in by affluent women. In the image, a child also appears holding a fan that bears an eagle decoration. Both the eagle and Mount Fuji, situated in the background, are symbols of hap- piness and good fortune.

Atsunare de la cosa Ebi

d e l a serie Lo s siete dioses de l a fortuna parodiados c om o prostitutas de alto rango

Ki

k uk awa Ei za n ( 1 787 - 1 867)

Xi

l og r a ff a ukiyo-e p o li c r o m a

T ar n a n o oban (380 x 250 m m)

E p oca Bunk a (1804 - 18 1 8)

A

t s un a r e, pr ost i t u ta d e a lt o r a n go , im ita a l a di o -

Atsunare , a high-ranking prostitute, imitates the

sa d e l a rnu s i ca B e n za it e n (n o mbr e j a pon es d e l a

musica l goddess Benzaiten (the Japanese name for

d

io sa hindu Sa r asva ti) , co n e l ca b e ll o s u e lt o y p a r a -

the Hindu goddess Sarasvati), standing with her

d

a fr e n te a un in s trum e nto mu s i ca l Il a m a d o

k oto.

hair down before a musical instrument known

E

I ilu s tr a d o r , K ikuk awa E i zan , se co n v irti 6 e n un o

as koto. The il l ustrator, Kikukawa Eizan, became

d

e 1 05 ma s imp o r ta nt es

seg uid o r es d e Ut a m a r o, y

one of U tamaro's most important followers and

de di c6 bu e n a p a rt e d e s u o br a a r e pr ese nt a r a mu -

dedicated a great deal of his work to representing

j

eres d e dif e r e nt es pr o f es ion es y est r atos soc i a l es .

women of different professions and social strata.

215

Chodayu. oiron del barrio de Yoshiwara. hace su pa- sea de gala (dochu) vistiendo un kimono muy lujoso de algod6n Ilamado uchikake y ostentosos adornos de carey en el cabello. Hacia la primera mitad del

cornun ver este tipo de adornos en el

cabello. que buscaban imitar el resplandor de Buda.

siglo XIX. fue

La obra pertenece a una serie que representaba a famosas prostitutas del barrio de Yoshiwara.

216

Chodayu de la casa Okamoto

de la serie Conjunto de bel/as mujeres de

105 prostibulos Utagawa Kuniyoshi (1797-1862) Xilografia ukiyo-e policroma Tarnario oban (380 x 260 mm) Epoca Tenpo (1830-1844)

Chodayu, an oiran from the Yoshiwara distric t , makes her gala stroll (dochu) wearing a luxurious cotton kimono, known as a uchikake, and ostenta- tious tortoise-shell ornaments in her hair . Toward the early 19 th century , it was common to see this kind of hair adornment that sought to imitate the glow of Buddha. The work belongs to a series por- traying famous prostitutes of Yoshiwara.

Atsunare de la casa Ebi

de la serie Los siete dioses de la fortuna parodiados como prostitutas de alto rango Kikukawa Eizan (1 787-1867) Xilograffa ukiyo-e policroma

T a rn a rio ob a n (380 x 250 mm) Epoca Bunka (1804 - 1818)

Ad e rnas de s e rvir como e ntreteni - mi e nto , es t e ju e go d e carta s er a par-

t

e de la m a quin a ria d e publi c id a d d e l

t

ea tro kobuki y de su s a cto r es . Con s -

a nt e m e nt e, 1 05 e ditores d e ukiyo-e pub l icaban in c ontab l es repr ese nt a-

t

c

ion es de 105 actore s ma s famoso s

del mome nta , que e l publico con s u- mfa d e l a misma form a qu e hay 105 jo -

v ene s compra n posters de su s id o lo s.

EI i l u s tra d o r d e esta obra , Yoshitaki , fu e e l m a s pro l ffico di s eriador de es -

t a mp as de acto res del k a buki e n la

c iud a d d e Osak a e n la se gund a m i t a d

d e l s ig l o XIX.

Besides providing entertainment, th i s se t of cards formed part of the machinery publicizing kabuki the- ater and its actors. The editors of ukiyo-e would continually publish countless representat i ons of the most famous actors of the day that the public consumed in the same way that young people today buy posters of their idols. The i l lustra- tor of t his work, Yoshitaki, was the most pro l ifi c designer of prints de- picting kabuki a c tors in the city of Osaka during the late 19 th century.

La mujer demonio

muerde su baston en serial de

enojo. L a imagen corresponde

a l a h istor i a Ala caza

de las hojas otofiales. puesta en escena en 1810 en l a obra de kabuk; EI sombrero de junquillo de la joven en

EI actor Bando Hikosaburo III interpretando

a la mujer demonio del monte Togakushi

Utagawa Toyokuni I (1769-1825)

X ilograffa ukiyo-e policroma .

Tarnano oban (370 x 270 mm)

Epoca Bunka (1804 - 1818)

The devil woman bites her staff in a show of an-

ger. This image corresponds to the

Autumn Leaves, staged in 1810 as part of the ka-

buki play A Young Woman's Reed Hat on the Road .

story Hunting

el camino. E n el l a el samurai Taira no Koremochi

fue

In it, the samurai Taira no Koremochi sets off

u

n dta a la montana T ogakus hi , donde encontr6

be-

one day to Mount Togakushi, where he finds

l

i as mujeres que Ie dieron de beber basta ernborra -

beautiful women who ply him with drink until

charse y quedarse

dormido.

Mientras dorm fa tuvo

he becomes inebriated and falls asleep. While

un sueno donde un dios Ie advirti6 de l peligro que

sleeping, he has a dream in which a god warns

corria, ya que l as m u j eres era n der n o nl acas.

As i , a l

him that he is in grave danger, as the women

despe r tar , dio muerte a todas .

are demoniacal . Thus, upon awakening, he slays them all .

218

L a ima ge n mu es tr a un a esce n a d e un a obr a d e t e a-

tro kobuki c u yo titulo

t a mp oc o v i e n e r e gi s tr a do e n l a es tampa . Mue s tra

ad o s acto r es qu e int e rpr e tan un a p e l e a a mu er t e .

Ka t s uk awa S hun s ho f u e uno d e 10 5 ma s importan-

Ka t s uka w a d e

ukiyo-e, f a mos a e n e l s i g lo XV III por s u s di se no s d e ac tor es d e l t ea tro kobuki.

t es r e pr ese ntant es d e l a esc u e l a

no se h a p o dido id e ntifi c ar y

r

Titul o s in i den ti ficar

Ka t s uk awa S hun s h o ( 1 7 2 6 - 1793)

X ilo g r a fi a ukiyo-e poli c rom a

T a rn a ri o a i ban ( 2 50 x 1 9 0 mm) Ep oca M e i wa (1 76 4 - 17 72 )

The

t i t le rema i ns un i dentified

the stamp itself . I t shows two actors portraying a fight to the death. Katsukawa Shunsho was one of the major representatives of the Ka t sukawa school

o f ukiyo-e, fa m ous in the 18 t h century for its de-

sig n s featuri n g kabuki theater actors .

image shows a scene from a kabuki play whose

and is not registered on

Los personajes Ishidome Busuke y la esposa Fuji en la obra "Historias heroicas en el paso de Iga"

T o yo kawa Yos hi ku n i (1803 - 1 840)

X il ogra ff a ukiyo-e po li croma

Tarnario c hub a n ( 25 0 x 1 80 mm , c/u)

E poca Bunky u (186 1 - 1 864)

Estampa de kabuki de la escuela de Osaka, donde se relata la historia de la famosa venganza del paso de Iga. Basada en hechos reales acontecidos en 1634, la historia cuenta como el samurai Watanabe Shi- zuma persigue par todo el pais hasta dar muerte al asesino de su hermano menor, el villano Kawai Matagoro, con la ayuda de su amigo Araki Mataemon y su seguidor Ishidome Busuke (representado en la imagen), mientras pisa el kimono de una mujer.

220

Kabuki pr i nt from the Osaka School te l ling the

famous vengeance story of the 19a passage. Based on ac t ual events that took p l ace in 1 634, t h is tale describes how samurai Watanabe Shizuma p u r-

s ues his younger brother's kil l er, the villain Kawai Matagoro, across the land unt il avenging his death with the h e lp of his friend Araki Mataemon and his fo ll ower lshidome Busuke (represen t ed in the image while ste p ping on a woman's kimono ) .

Los personajes Karaki Masaemon y Magohachi en la obra "Historias heroicas en el paso de Iga" Konishi Hirosada (1810-1864) Xilograffa ukiyo-e policroma Tamaiio chuban (250 x 180 mm , c/u) Epoca Bunkyu(1861 - 1864)

Estampa de kabuk; de l a escuela de Osa k a, donde se

re l ata l a h i sto r ia de l a famosa venga n za de l paso de

I ga . Esta historia, basada en hechos rea l es aconte- cidos en 1634 , cuenta como e l samurai Watanabe Shizuma persigue por todo e l pais hasta dar muer- te al asesino de su hermano menor, el vi l lano Kawai Matagoro , con l a ayuda de su amigo Araki Mataemon (representado en la estampa como Masaemon), quien ademas se hizo legendario por su manejo de la espada .

Kabuki print from the Osaka School telling the

famous vengeance story of the Iga passage. Based

on actual events that took

tale describes how samurai Watanabe Shizuma pursues his younger brother's killer, the villain Kawai Matagoro, across the land until avenging his death with the help of his friend Araki Matae- man (represented at the print as Masaemon), also legendary for his swordplay .

place in 1634, this

221

Los personajes Ishidome Busuke y la esposa Fuji en la obra "Historias heroicas en el paso de Iga" Ko n is h i Hir o s a d a ( 1810-1 864)

X il og r a ff a ukiyo-e po li c r o m a

T

a rn a n o c hub a n (25 0 x 1 8 0 mm , c/u)

 

E

poc a Bunk y u ( 1 86 1 - 1 864)

E

s t a mp a d e kabuki de l a es cu e l a d e O sa k a, dond e se

Kabuki print from the Osaka School tell i ng th e

r e l a t a l a hi s toria d e l a f a m osa ve n ga n za d e l p as o d e

l g a B asa da e n h ec ho s r ea l e s a con t e c id os

l a hi sto ri a cu e nt a co mo e l sa mur a i W a tan a be S hi-

z um a p e r s i g u e p a r todo e l p a is h as t a d a r mu e rte

a l a s es ino d e s u h e rman o m e n o r , e l v illano K awa i

M a t ag or o, c o n l a ay ud a d e s u a mi g o A r a ki M a t ae mon

y s u seg uid or I s hid o m e Bu s uk e (r e p rese nt a do

e n l a

e n 1 63 4 ,

im age n) , mi e ntr as pi sa e l kimono d e un a muj e r .

f amo u s vengeance story of the 19a passage . Based

on actua l events that took place in 1634, this tale

describes how samurai Watanabe Shizuma pur- sues his younger brother's killer, the villain Kawai Matagoro, across the land until avenging his death with the help of his friend Araki Mataemon and his follower lshidome Busuke (represen t ed in the image while stepping on a woman's kimono).

Ob r a p e rt e n ec i e nt e a un a de l as se ri es m as f a m osas

d e l i l u s tr a dor Y os h i tos h i , do nd e se e n tr e m ezc l a n te m as h i s t6r i cos, l eye n das y c u e nto s d e l fo l c l o r pop u l a r , tod os e ll os t o m a nd o co m o pr e t ex t o l a

i mage n d e l a lun a . En l a im age n exp u es t a, pode m os ve r a un h o mb re dormido en u n sa ntu ar i o shinto, cuyo sue no r eprod u ce a u n viejo que I e observa.

Luna /lena en Sumiyoshi, de la serie Los cien aspectos de la luna Tsukioka Yoshitoshi (1839-1892)

X i lograffa ukiyo-e policroma

T a r nano oba n (370 x 250 mm)

Epoca Meiji (1868-1912)

Work belonging to one of the most famous se- ries by illustrator Yoshitoshi, blending historic, l egendary and fo l kloric tales and themes, all of which use imagery of the moon as their motif. In the print shown here, we see a man s l eeping at a s h into sanc t uary, dreaming of an o l d man who watches over him.

223

E n l a e s tarnp a se r e pr ese nt a a l ac t o r I c hik awa

Ud a nji interpret a nd o

e l p a p e l de un a muj e r j o-

ve n ll a m a da Omit s u . En es t a im age n c ort a

hi e rb as de prirn ave r a ( e nt e n d i das c om o e l e m e n to

a u s pici a torio ), c on l as q u e p r epa r a un p l a till o de

ar r oz qu e form a part e de 1 05 ri tu a l es p or e l ana

n u evo . L a e s t a mp a es otra mu es t ra d e l ukiyo-e

de ac t o r es d e ka bu k i de la escue l a de O saka , de l a

q u e l a Co l ecci6n Ca r ri ll o Gi l cuenta con una i ntere- sante muestra.

s i ete

224

Escena de la obra La nueva historia de Utazaemon Utagawa (Ichiyotei) Yoshitaki

(1841-1899)

Xi l og r affa ukiyo-e po li croma

Tarnario c hu ban (250 x 180 mm)

Epoca Keio (1865-1868)

This print represents the actor Ichikawa U da nji p l aying the role of a young woman ca ll ed Omi ts u. In this image, she harvests seven herbs of spring (understood as an auspicious omen), which she uses to prepare a rice dish t hat forms part of the rituals for the N ew Year. The print shown here is anot h er sample of the ukiyo-e of kabuki a ct ors from the Osaka School, of which the Carr ill o G il collection possesses an interesting array.

Escena de l a obra de kobuki Lo Verdulera O-shiehi,

do nd e se rnues t ra a O-shiehi golpeando e l tarnbor

de l a to rr e de vigi l a n cia para av i sar de l a presencia de fu eg o e n s u c asa , y a s l atrae r a s u a m ado, K i c hi - sab uro , qu ie n ac u de a combati r e l s ini es t ro junto

c on otros h ombres . L a e s tampa e s otra m ue s tra de l

ukiyo-e de ac t o r es de kobuki de l a escue l a de Osaka , de l a q u e l a Co l ecci6n Ca r ri l lo Gi l cuen t a con una interesante muest r a .

Fuego

d e la se r i e Parodias del noro s cooo

Utagawa (0 I c hiyot e i) Y os hit ak i

(1841 - 1899 )

X ilograffa ukiyo-e poli c rom a

Tamafio c hu b an (240 x 1 8 0 mm) Epoca M e iji (1868 - 1912)

Scene from the kabuki play O-shichi The Vegeta- ble Vendor, showing O-shichi beating the drum of the watchtower to announce that her home has caught fire and thus attr a ct her beloved, Kichis- aburo, who answers the call to fight the flames to g ether with other men . The print shown here is yet another example of ukiyo-e from the Osaka School depicting kabuki actors, of which the Car- rill o Oil collection possesses an interesting array .

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De la serie Un dia en Yoshiwaro, esta p i eza rnu es -

t ra a una prost i tuta oiron d iri giendose , en p l ena

madrugada , a su casa a descansar . A r r i ba , dos v i- gilante s que portan bastones cuidan que no hayan in ce nd ios . A l a de r ech a, un reloj , y abajo , la oiron colo c ando un biombo para dormir . EI conoc i do ba -

rrio de prostituc i 6n de Yo s hiwara fue perdiendo su vitalidad a 10 l argo de l a pr i me r a m it ad d e l s i g l o xx,

h a s ta que desapareci6 comp l e t amente a f i na l es de

l a decada de 1950.

Dace haros madernas. La haro del tigre (4 am)

Ut agawa Yos hit ora (c . 1 830-1880 )

X il ogr a f f a ukiya-e policroma

T arnano oban (350 x 240 mm) Epoca M e iji (1868-1912)

From the series A Day in Yashiwara, this piece sh o ws an o iran prostitute heading home to rest at dawn . Above, two watchmen bearing staffs make sure that no fires are burning . To the right s tands a clock and beneath , the oiran positioning the screen s he will sleep behind . The well-known red-light district o f Yoshiwara gradually lost its vitality over the early 20 th century, disappearing complet e ly in the late 1950s .

En la sa la, recostada, una mujer amamanta a su crio, Se ve, al fondo, un estante irregular donde guarda diversos utensilios. AI frente y abajo un recipiente con agua y una navaja que se utilizaban para afeitar

Durante el periodo Meiji y en

la cabeza de 1 05 nines.

Edo, las mujeres casad as acostumbraban a depilar- se las cejas y pintarse sus dientes de negro.

Mujer amamantando, de la ser i e Telos brocadas: Be/lezas de 10 provincia Musashi Toyohara Kunic h ika (1835-1900)

Xi l ografia ukiyo-e po l icroma

Tarnano oban (360 x 230 mm)

Epoca Meiji (1868-1912)

Reclining in her living room, a woman nurses her baby . In the background, we see a makeshift sh e lf where various utensils are kept . In the foreground below, a water recipient and a razor used to shave the heads of children. During the Meiji period in Edo, it was customary for married women to pluck their eyebrows and paint their teeth black .

227

Esta es u na i m age n q u e se p ubl ic6 co m o s u p l eme n- to de l peri6 d ico Yamato en e l a n o 1887 . M u es t ra

e l hecho rea l de O u me, u n a geisha v f ctima d e l a

ins i s t e n cia de Mi n ek i ch i , qu i en se h a l laba p r of u n-

d amente enamorado de e ll a. P ara des h acerse de

e l , Oume I e pe rmit e t o m ar s u c u e r po por un a so l a

vez; si n emba r go, Mi n ekic hi sig u e insis ti end o ye ll a,

envuelta e n i ra , dec id e mata rl o . H a ci a fin a l es d e l si-

g l o XIX, e l ukiyo-e se comenz6 a ut i li za r amp l ia m e n te como i l ustraci6 n de n oticias .

228

Hanai Oume, de l a serie Biografias de gente moderna

T suk i oka Yos h itosh i ( 1 839-1892)

X il og r af f a ukiyo-e po l icroma

T arnar i o oba n (355 X 240 mm)

E poca Me iji (1868-1912)

This image was published as a section of the Yam- ato newspaper in the year 1887 . It depicts the true story of Oume, a geisha harassed by the i nsistence of Minekichi, who was deeply in love with her . In order to get rid of him, Oume allowed him to use her body o nly once; however, Minekichi contin- ued to insist until Oume, fi ll ed with rage, decided to kill h i m . Toward the late 19 th century, ukiyo-e began to b e widely used to illustrate news items .

Esta estampa representa a H osokawa Gracia , hija

de l ases in o de l l ide r samu r a i Oda No b unaga , es -

posa de Tadaoki (quien ta m b i en co r n b at i o en el

proce s o de pacif i cacion de Japan , a fina l es de l si - glo XVI ) y cristiana conver s a . L a escena que vemos muestra e l momento e n que , para salvar su honor

y e vitar se r cap t urada en la toma de l ca s tillo d e

Osaka y d e l a ma n sion H osokawa en e l ana 1600 ,

o r dena a s u s s i rv i e nt es que I e den m u e rt e, ya q u e

el cr i st i a n ismo p roh i be el s uic i d i o .

La esposa de Hosokawa Tadaoki, de l a

se ri e Ejemp/os de mujeres famosas de ayer

yde hoy

Adachi Ginko (acti v o ca. 1874-1897)

Xi l ograffa ukiyo-e po li croma

T a r nario oban (355 x 240 mm)

E poca M ei ji (1868 -1 912)

This print represent s Hosokawa Gr a cia , dau g h- ter of the man who assassinated samurai lead e r Oda Nobunaga, wife of Tadaoki (who also fou g ht during the pacification process of}apan in the late

16 th century) and Christian convert . The scene w e

observe s hows the moment in which, to s ave her honor and avoid being captured during the si e ge of Osaka Castle and Hosokawa Mansi o n in the ye a r 1600 , she orders her servants to end her life, given that Christianity forbids suicide.

229

En esta estampa de Toyokuni, vemos c6mo el ac- tor representa a un hombre fuerte que, portando

armas de samurai, apoya su pie en la escalera y tira

cuerda para tocar la campana del tern-

plo. En esta etapa, finales del siglo X VIII, las estarn- pas de actores del kobuk; comienzan a representar mas individualizadamente a 105 acto res y persona- jes, de manera que la gente pudiera reconocerlos de inmediato.

de una gran

230

EI actor Ichikawa Danza IV

Utagawa Toyokun i I (1769 - 1825)

X i lograf f a ukiyo-e policroma

Tarnano oban (360 x 240 mm) Epoca Kansei (1789-180 1 )

In this print by Toyokuni , we see how the actor represents a strongman who, bearing the weap - ons of a samurai, rests his foot on the stairway and pulls at a great cord to ring the temple bell . At this stage, the late 18 th century, kabuki prints started to represent actors and characters more individually, so that people could recognize them immediately.

Ichikawa Danjuro es uno de 105 p e r s onal es m as -

c ulinos d e kabuki ma s importantes, y perdura h as - ta nu es tros dfas . En esta estampa 10 vemos como

el sup e rhe r o e de la popular pi e z a Shibaraku. Esta obra se ha interpr e tado constantem e nte desde el

s iglo X VII hasta l a actualidad en casi todos 10 5 pro- gramas anuales del t e atro kabuki. La pobl a ci6n d e

Edo adm i raba a este personaje fu e rt e, qu e se con -

v i rt i 6 e n un sfmbolo d e la cultur a popular urbana de l a epoca .

EI actor Ichikawa Oanjuro VII en la obra Shibaraku Ut a g awa Toy o kun i I (1 7 69- 182 5)

X ilograff a ukiyo-e poli cr om a

T a rnano ob a n ( 38 0 x 27 0 rnrn)

Epo c a Bunk a (1804-1 8 1 8 )

Ichikawa Danjuro i s one of the most important male kabuki line of actors and has endured un-

til the present day. In this print, we see him as the superhero from t he popular work Shibaraku.

staged cons t antly since the 17 t h

cen t ury in nearly all the annual kabuki theater programs. The p opula t ion o f Edo admired this strong figure who became a symbol of popular ur - ban c u lture of the age.

T his play has been

L os ukiyo-e de la escuela de Osaka (0 Kamigata-e,

como se co n ocian), fueron una producci6n inde - pe n die n te de l a de l a ciudad de Edo, y desarro ll aron un est il o pr o pio. D ebido a l a e n orme popu l aridad de l t ea t ro kabuki en l a c iu dad d e Osaka, estas es- tampas se circunsc ri bieron casi exc l usiva m ente a representa r las ob r as q u e se l Ievaban a esce n a a ll f , asf como a sus ac t o r es loca l es.

232

Escena de la obra La doble hoja del fibro ilustrado d e princesas comparadas Utagawa (Ichiyot e i) Yo s hit a ki

(1841-1899)

X ilograffa ukiyo-e p o licroma

Tarnario chuban ( 240 x 180 mm)

E poca Meiji (1868-1912)

The ukiyo-e from the Osaka School (or Kamiga- ta-e, as they were also known), were produced independently from the city of Edo and devel- oped a style of their own . Given the enormous popularity of kabuki theater in the city of Osa- ka, these prints were almost exclusively lim i ted to representing works that were staged there, as well a s local actors.

Ve m os en l a es t a m pa a un o de 10 5 ta nto s he r oes d e

l a epica de l sig l o X I V Cantor de Heike. E n este caso, Kojiro Naoie m u ere en ma n os de s u propio pad r e,

e l famoso samurai Kumagai Naozane, quien e n un

acto de l ea l tad h acia s u senor I e cor t a l a ca b eza a su h i j o pa r a sustituir l a por l a de l joven Atsumo r i,

a q u ien debf a sa l var. L as hi sto ri as de l Cantor de

Heike f u e r on te m a recur r e n te en e l ge n ero de es -

ta m pas d e guerreros ( 0 musha-e), que se hi zo po-

p ul ar desde fi n a l es de l sig l o XV III .

EI guerrero Kumagai Kojiro Naoie, de l a serie Sagas sobre el honor de 105 heroes

Ka t s u s hik a I sa i (1821-1880 )

X il og r af f a ukiyo-e po li c r o m a

T ar n a n o oba n (380 x 260 mm) Epoca Kaei (1848 -1 854)

In this print we see one of many heroes from the 14th century epic The Tale of Heike. In this case, Kojiro Naoie dies at the hand of his own father, the famous samurai Kumagai Naozane, who in an act ofloyalty to his lord cuts off his son's head in order to substitute it with that of young Atsumori, whom he must save. The stories from The Tale of Heike were a recurrent theme in the genre of warrior prints (or musha-e), which became popular starting in the late 18 th century.

233

La se ri e esta basada en l a co n ocida l e y e nd a d e l

Chushingura (Ellegado

de 105 leales vasal/os), escr it a

para e l teatro de m a rio n e t as (bunraku) y puesta e n esce n a pa r ve z prime r a en el ana d e 1 7 4 8 . EI tex -

o , que p a rte d e un h ec h o ve rf d i co, n a rra l a h is t or i a de l a ve n ganz a d e l os 47 sarnurais, q ue l ogran dar

m u erte a a qu e l q u e p r ovoco e l suicid i o de su senor ,

y quienes d e s pu es de r ea li zar su comet i do, rea l izan

suicidio ri tu al (seppuku a harakiri) en grupo.

t

234

EI guerrero Mase Hisadagu Masaaki, de

la serie 8iografias de samur6is leales y virtuosos (copia tardia de l origina l ) Basado en el or i gina l de Utag a wa Kuniyoshi (1797-1862)

X ilografia ukiyo-e policroma

Tarnano oban ( 3 60 x 2 50 mm) Copia de l a e poca Meiji ( 1 8 6 8 -1912)

The series is based on the known legend of the Chushingura (The Legacy of the Loyal Retainers), written for marionette theater (bunraku) and staged for the first time in the year 1748. The text, which is based on a true story, narrates the vengeance of the 47 samurai who succeeded in bringing death to the man who caused the suicide of their lord and who, after completing their task, committed ritual group suicide (seppuku or harakiri).

Aq u l vemos otra estampa de la ser i e de las biogra-

ffas de 1 0547 sa r n u rais . Estos e j em pl os son capias

ta r d f as d e fin es del sig l o XIX, que esta n basadas

en e l fa m oso ca n junto q u e e l i l ustra d o r U tagawa

K u n i yoshi re al izara e n tre 1 847y 1848. Unos pocas

anos desp u es, en 1869, e l disc i p u lo de K u n i yos h i,

Tsuk i oka Yosh i tos h i, realiz6 otra vers i 6 n de l a po- pular serie.

EI guerrero Sugino Juheiji Tsugifusa,

serie Biografias de samur6is leales y virtuosos (copia tardia de l original) Basado en el origina l de Utagawa Kuniyoshi (1797-1862)

Xi l ograffa ukiyo-e policroma

Tarnano oban (360 X 250 mm) Copia de la epoca Meiji (1868 - 1912)

de la

Here we see another print from the series of biog- raphies of the 47 samurai . The examples shown here are later copies from the late 19 th century, based on the famous set completed by illustrator Utagawa Kuniyoshi from 1847 to 1848 . A few years later, in 1869, the disciple of Kuniyoshi, Tsukioka Yoshitoshi, who also forms part of the Carrillo Oil collection, completed another ver- sion of the popular series.

235

Estos ejemplos son capias tardfas de finales del siglo XIX, basad as en el famoso conjunto que el ilustrador Utagawa Kuniyoshi realizara entre

1847 y 1848 . Unos po cas anos despues, en 1869,

el d i scfpulo de Kuniyoshi, Tsukioka Yoshitoshi,

realize otra version de la popular serle .

236

EI guerrero Katsuta Shinzaemon Taketaka, de la serie Biografias de samur6is leales y virtuosos (copia tardfa del original) Basado en el original de Utagawa Kuniyoshi (1797-1862) Xilograffa ukiyo-e policroma Tamar'iooban (360 x 250 mm) Copia de la epoca Meiji (1868-1912)

The examples shown here are later copies from the late 19 th century, based on the famous set completed by illustrator Utagawa Kuniyoshi from 1847 to 1848 . A few years later, in 1869, the disci- ple of Kuniyoshi, Tsukioka Yoshitoshi, completed another version of the popular series.

E/ guerrero Kaida Yadaemon Tomonobu.

de la serie Biografias de samur6is /ea/es

y virtuosos (copia tardia del original)

Basado en el original de Utagawa Kuniyoshi (1797-1862) Xilografia ukiyo-e policroma Tamano oban (360 x 250 mm) Copia de la epoca Meiji (1868-1912)

237

Amaury A. Garda Rodriguez

Doctor en Estudios de Asia y Africa, especialidad Historia de Japan y Maestro en Estudios de Asia y Africa, especialidad Estudios Japoneses, ambos por el Centro de Estudios de Asia y Africa, EI Co- legio de Mexico. Realize sus estudios de Licencia- tura en Historia del Arte en la Universidad de La Habana. Sus llneas de investigacion giran alrede- dor de la cultura popular urbana y sus produccio- nes visuales, en particular las relaciones entre las estructuras de poder y la produccion de estarn- pas eroticas durante 105 siglos XVIIY XIXen Japan. Cuenta con 105 libros "Cultura popular y grabado en Japan" (EI Colegio de Mexico, 2005), "EI con- trol de la estampa erotica japonesa shunga" (EI Colegio de Mexico, 2011), y la coediclon "Cultura visual en Japan: Once estudios iberoamericanos" (EI Colegio de Mexico, 2009). Tiene en prepara- cion el libro "EI Gran Divertimento Femenino: del texto confuciano ala parodia" (EI Colegio de Mexi- co), de proxima aparicion. Actualmente es profe- sor-investigador del Centro de Estudios de Asia y Africa, EI Colegio de Mexico.

Ana Garduno

Doctora en Historia del Arte por la Facultad de Filosoffa y Letras de la Universidad Autonorna de Mexico. Sus Ifneas de investigacion son el co- leccionismo de arte, 105 museos y las polfticas cul- turales de la modernidad. Es investigadora titular del Centro Nacional de lnvestigacion, Documen- tacion e Informacion de Artes Plasticas (CENIDIAP) del Instituto Nacional de Bellas Artes y obtuvo el Premio al Desernpeno Academico en Investiga- cion dellNBAen 2010. Es Miembrodel Sistema Na- cional de Investigadores. Entre sus publicaciones mas relevantes se encuentra EI poder del coleccio- nismo de arte: Alvar Carrillo Gil editado por la Uni- versidad Nacional Autonoma de Mexico en 2009.

Garcia Rodriguez holds a Ph.D. in Asia and Afri- ca Studies with a minor in Japanese History and

a Master's degree in Africa and Asia Studies with

a minor in Japanese Studies, both from the Cen-

ter of Asia and Africa Studies of El Colegio de Mexico (Colmex). He completed his Bachelor's degree in Art History at the University of Hava- na in Cuba. His lines of research delve into pop- ular urban culture and its visual productions, especially the relationships between power struc- ture and the production of erotic stamps over the 17 th and 19 th centuries in Japan. He is the au- thor of the books "Cultura popular y grabado en Japan" (Colmex, 2005), "El control de la estam- pa erotica japonesa shunga" (Colmex, 2011), and co-editor of "Cultura visual en Japan: Once es- tudios iberoamericanos" (Colmex, 2009). He is currently preparing ellibro "El gran divertimen- to femenino: del texto confuciano a la parodia" (Colmex) for publication. Garcia Rodriguez is a research professor at the Center of Asia and Af- rica Studies of El Colegio de Mexico.

Garduno holds a Ph.D. in Art History from the Faculty of Philosophy and Literature of the Uni- versidad Nacional Autonoma de Mexico (UNAM). Her lines of research are: modern art collection, museums and cultural policies. She is the head researcher at the Centro Nacional de Investi- gacion, Documentacion e Informacion de Artes Plasticas (CENIDAP) of the Instituto Nacional de Bellas Artes (INBA) and was awarded the Prize for Academic Performance in Research by that same institution in 2010. She is also a member of the Sistema Nacional de Investigadores. Her most relevant publications include E1 poder del co1eccionismo de arte: A1var Carrillo Gil, edited by the UNAM in 2009.

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