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偽一休和尚説法之図
The False Ikkyû Preaching to the Bill Collectors
偽一休和尚説法之図
Japanese
Edo period
1843–47 (Tenpô 14–Kôka 4)
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban triptych; 36.9 x 75.3 cm (14 1/2 x 29 5/8 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.36499a-c
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
Catalogue Raisonné
Ôta Mem. Mus., Warau ukiyo-e (2013), #122; Inagaki and Isao, Kuniyoshi no kyôga (1991), #74; Hizô Ukiyo-e taikan/Ukiyo-e Masterpieces in European Collections 11, Museo d'Arte Orientale, Genoa, II (1989), fig. 85
DescriptionMFA impressions: 11.28882-4, 11.36499a-c, 11.39576a-c
The text explains that once when the famous Zen priest Ikkyû was away from home, bill collectors came for the money that was owed to them. Ikkyû's disciple Hakuzôzu told them that he himself was Ikkyû. Assisted by an otokodate called Nozarashi Gosuke, he delivered a stirring sermon on heaven and hell. The bill collectors were so moved that they crossed out the debts listed in their acount books and offered their own money and possessions to the priest instead.
The text explains that once when the famous Zen priest Ikkyû was away from home, bill collectors came for the money that was owed to them. Ikkyû's disciple Hakuzôzu told them that he himself was Ikkyû. Assisted by an otokodate called Nozarashi Gosuke, he delivered a stirring sermon on heaven and hell. The bill collectors were so moved that they crossed out the debts listed in their acount books and offered their own money and possessions to the priest instead.
Signed
Ichiyûsai Kuniyoshi giga (on right and left sheets), Ichiyûsai Kuniyoshi ga (on center sheet)
一勇斎国芳戯画 一勇斎国芳画 朝櫻楼国芳画
一勇斎国芳戯画 一勇斎国芳画 朝櫻楼国芳画
Marks
Censor's seal: Mura
No blockcutter's mark
改印：村
彫師：なし
No blockcutter's mark
改印：村
彫師：なし
Inscriptions「一休和尚ハ後小松天皇の御落胤なり其名を宗純と申し都紫野大徳寺なる宗曇花叟の嗣法にて出藍の方弥高く禅機悟法に長給う故世の人是を活仏と称す或年河内国駒嶽の麓に閑居し給ひしる時節極月晦日の夜草庵へ討債共の大勢にて来りしかバ御弟子箔蔵主ハ侠客野晒悟助といひあハせ自一休なるといつはり地獄極楽の有様を軍陣のことによけへいと面白く法談なし或ハ諸経の極意をやハらげ無常迅速の理を世にあハれげに説けれバ悟助ハ程よき頃を見て勧進木口をもちまハるに聴衆の面々感にたへ債ことハうち忘れ貸高を記しゝ帳面に墨をひきて消あれバ他所にて債りし金銭を布施物にいるゝ者も有て暫時欲念を散じけるとぞ 故人京伝翁の著作せられし本朝酔菩薩の文を省略して 柳下亭種員筆記」
「はたるべきかけハはたらでつミとがの帳けしをさへねがふをかしさ たねかず」
「はたるべきかけハはたらでつミとがの帳けしをさへねがふをかしさ たねかず」
ProvenanceBy 1911, purchased by William Sturgis Bigelow (b. 1850–d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: January 19, 2005)
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.