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「暦中段尽し 閉（とづ） 意勢古世身（いせこよみ） 見立十二直 菊月の神明祭（しんめいまつり）」
Tozu: Festival of the Shinmei Shrine in the Ninth Month (Kikutsuki no Shinmei matsuri), from the series Scenes for the Twelve Correspondences According to the Ise Almanac, Middle Section (Reki chûdan tsukushi, Ise goyomi mitate jûni choku)
「暦中段尽し 閉（とづ） 意勢古世身（いせこよみ） 見立十二直 菊月の神明祭（しんめいまつり）」
Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864)
Publisher: Ebisuya Shôshichi (Kinshôdô) (Japanese)
Publisher: Ebisuya Shôshichi (Kinshôdô) (Japanese)
Japanese
Edo period
1847–52 (Kôka 4–Kaei 5)
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban; 36.9 x 25.6 cm (14 1/2 x 10 1/16 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.42556
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
Catalogue Raisonné
Ôta Memorial Museum of Art, Edo engei hana zukushi (2009), #95
DescriptionThe Twelve Correspondences (jûni choku), an important feature of Edo-period astrology, were a chronological sequence of days that were considered lucky or unlucky for various activities, calculated according to the orientation of the Big DIpper with respect to the twelve signs of the zodiac (jûnishi). In this series Kunisada associates each of the twelve lucky or unlucky days noted in the almanac with one of the twelve months.
The Twelve Correspondences, with rough translations, are: Tatsu (Building), Nozoku (Eliminating), Mitsu (Full), Taira (Even), Sadan (Distinguishing), Toru (Carrying Out), Yaburu (Overcoming), Ayabu (Dangerous), Naru (Fulfillment), Osan (Gathering), Hiraku (Opening), Tozu (Closing).
十二直 建（たつ） 除（のぞく） 満（みつ） 平（たいら） 定（さだん） 執、取（とる） 破（やぶる） 危（あやぶ) 成（なる） 納（おさん） 開（ひらく） 閉（とづ）
The Twelve Correspondences, with rough translations, are: Tatsu (Building), Nozoku (Eliminating), Mitsu (Full), Taira (Even), Sadan (Distinguishing), Toru (Carrying Out), Yaburu (Overcoming), Ayabu (Dangerous), Naru (Fulfillment), Osan (Gathering), Hiraku (Opening), Tozu (Closing).
十二直 建（たつ） 除（のぞく） 満（みつ） 平（たいら） 定（さだん） 執、取（とる） 破（やぶる） 危（あやぶ) 成（なる） 納（おさん） 開（ひらく） 閉（とづ）
Signed
Ichiyôsai Toyokuni ga
一陽斎豊国画
一陽斎豊国画
Marks
Censors' seals: Hama, Kinugasa
No blockcutter's mark
改印：浜、衣笠
彫師：なし
No blockcutter's mark
改印：浜、衣笠
彫師：なし
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.