Humor and Wit: Parody and Play in Japanese Painting and Prints
The paintings and prints on display in this installation demonstrate that humor and parody have long been important aspects of Japanese art. This was especially so during the Edo period (1600–1868), when rigid social hierarchies created the impetus for different forms of artistic expression. Humor provided an escape for many who chafed under a regime that imposed strict codes of social conduct; artists, authors, and entertainers devised playful ways to outwit the law and create new forms of comic diversion.
Installation arranged by Wai Yee Chiong, PhD Candidate, Department of Art & Archaeology, Princeton University.
This installation complements the 2014 Graduate Student Symposium in East Asian Art. The symposium is co-organized by Wai Yee Chiong and Sol Jung. Entitled “Wit and Humor: Visualizing Playfulness in East Asian Art” the symposium will take place on March 1, 2014. For more information see: http://www.princeton.edu/tang/symposia/gs/
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The Wife’s Welcome (Saikun no kangei 細君の歓迎), from the series “Magic Lantern of Society: One Hundred Victories, One Hundred Laughs” (Shakai gentō: Hyakusen hyakushō 社會幻燈 百選百笑)The Wife’s Welcome (Saikun no kangei 細君の歓迎), from the series “Magic Lantern of Society: One Hundred Victories, One Hundred Laughs” (Shakai gentō: Hyakusen hyakushō 社會幻燈 百選百笑), 1895, November
Meiji era, 1868–1912
Japanese -
The Juggler of the Chinese Ball (Shinadama-tsukai or Shina tama-tsukai 支那玉遣ひ), from the series “Long Live Japan: One Hundred Victories, One Hundred Laughs” (Nihon banzai: Hyakusen hyakushō 日本万歳 百撰百笑)The Juggler of the Chinese Ball (Shinadama-tsukai or Shina tama-tsukai 支那玉遣ひ), from the series “Long Live Japan: One Hundred Victories, One Hundred Laughs” (Nihon banzai: Hyakusen hyakushō 日本万歳 百撰百笑), 1895 [Meiji 28], June
Meiji era, 1868–1912
Japanese -
The Immortal Qingao Riding a Fish (Qingao chengli tu 琴高乘鯉圖)The Immortal Qingao Riding a Fish (Qingao chengli tu 琴高乘鯉圖) ,
Momoyama period, 1573–1603
Japanese -
Le Jardin des Plantes à Pékin—Les Chinois admirant beaucoup un quadrupéd de France et un bipède du même pays. . . . (The Botanic Garden at Peking—The Chinese admire a quadruped from France and a biped from the same country. . . . )Le Jardin des Plantes à Pékin—Les Chinois admirant beaucoup un quadrupéd de France et un bipède du même pays. . . . (The Botanic Garden at Peking—The Chinese admire a quadruped from France and a biped from the same country. . . . ), Published in Le Charivari, May 13, 1854
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Devin, plate 2 from the series Travestissement Grotesques from Le CharivariDevin, plate 2 from the series Travestissement Grotesques from Le Charivari, published February 6, 1833
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Toad Immortal (Gama Sennin 蝦蟇仙人)Toad Immortal (Gama Sennin 蝦蟇仙人), undated
Edo period, 1603–1868
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Moon at Genji’s Villa (Genji bessō no tsuki 源氏別荘の月)Moon at Genji’s Villa (Genji bessō no tsuki 源氏別荘の月), 1854 [Kaei 7/Ansei 1], 12th month
Edo period, 1603–1868
Japanese -
Political Mathematicians Shaking the Broad Bottom'd HemispheresPolitical Mathematicians Shaking the Broad Bottom'd Hemispheres, published January 9, 1807
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One of Eight Views of YoshiwaraOne of Eight Views of Yoshiwara,
Edo period, 1603–1868
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Rabbit (U 卯): The Mountain Witch of the Ashigara Mountains (Ashigarayama no Yamauba 足柄山の姥), from the series Selected Histories for the Twelve Zodiac Signs (Mitate jūni shi 見盾十二史)Rabbit (U 卯): The Mountain Witch of the Ashigara Mountains (Ashigarayama no Yamauba 足柄山の姥), from the series Selected Histories for the Twelve Zodiac Signs (Mitate jūni shi 見盾十二史), ca. 1845 [Kōka 2]
Edo period, 1603–1868
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Poem by Fujiwara no Michinobu Ason (藤原道信朝臣), from the series “One Hundred Poems Explained by the Nurse” (Hyakunin isshu uba ga etoki 百人一首宇波か縁説)Poem by Fujiwara no Michinobu Ason (藤原道信朝臣), from the series “One Hundred Poems Explained by the Nurse” (Hyakunin isshu uba ga etoki 百人一首宇波か縁説), ca. 1839
Edo period, 1603–1868
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Nakamura Utaemon IV as Ishikawa Goemon and Mimasu Daigoro IV as Mashiba Hisayoshi (「石川五衛門」四代目中村歌右衛門、「真柴久吉」四代目三枡大五郎)Nakamura Utaemon IV as Ishikawa Goemon and Mimasu Daigoro IV as Mashiba Hisayoshi (「石川五衛門」四代目中村歌右衛門、「真柴久吉」四代目三枡大五郎),
Edo period, 1603–1868
Japanese
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