Exhibitions 9


Asian Art


9th November & 10th November at 10am


Mallams 1788 MORE INFORMATION


Large elephant newly imported from Malacca (1863) by Ryoko, Edo period, colour woodblock print


The Butcher by Georges Bigot, 1883, Meiji period, from a volume of copperplate engravings, 30 x 27.1 cm


messenger. On the way to Oji, the foxes have set a number of kitsunebi (foxfires), which farmers count to predict the upcoming rice harvest. Hiroshige’s print successfully conveys the mysterious atmosphere of the rite as the procession of foxes bearing fires approaches from the distant, dark forest under a starry sky. From the beginning of the 17th


century, when Edo was rapidly becoming more urban, the population began to look for new attractions to entertain themselves. One such event was the exhibition of rare animals, including


peacocks and parrots,


which had been brought by boat from China or Holland. Te animals were displayed in specific places – the ancestors of zoos – with shops nearby offering food and drink to visitors. With the development of trade with the West, the number of imported animals increased considerably over time, with the fashion for ‘exotic’ animals experiencing an unprecedented boom. By the start of the Meiji era in 1868, Japan had begun to build modern facilities based on the Western models to cater to


the public demand for reflected their depiction


aquariums, and racetracks. Tis craze for animals was also in


on


clothing and everyday objects. Animal symbolism had been in use for centuries, but during the Edo period all kinds of animals were widely used as decorative motifs to symbolise success, happiness, good health and good luck. Animals are frequently depicted on kimonos and accessories, as well as on everyday personal objects. It was during the Edo period that further developped animal patterns and motifs on kimonos. as well as symbols of natural


subjects such as the four seasons, to be


used as auspicious image. A


favourite image was the crane, which still is the most popular bird depicted on a kimono, as it is believed to live for a thousand years and to inhabit the land of the immortals, therefore symbolising both longevity and good fortune. Animalsmotifs were also important


in a domestic setting. Te very high infant mortality during the Edo period helps to explain the manufacture of many protective talismans and amulets used personally and in the home, intended to ward off the bad luck with the symbolism and design reflecting the beliefs attached to different animals. One such print in the exhibition to guard against infection or plague shows a red-eyed rabbit/horned owl by Utagawa Kuniyoshi. Today, as in the past, toys in the


zoos,


shape of animals were very popular, as with other objects, animals evoked the spirit of a season and was associated with auspicious events. During the Edo period, decorative motifs representing animals began to evolve, showing a greater freedom of design and richer variations of styles. However, towards the end of the 19th century, Japanese culture in connection with the animal world began to fade and the emphasis was increasingly placed on the kawaii (cute) side of pets. Te traditional portrayal of animals


can still be


• A Japanese Bestiary, Living with Animals in Edo-Tokyo, from 9 November to 21 January, 2023, Maison de la culture du Japon, Paris, mcjp.fr


widely seen in Japan in many different forms, but there is a battle to be won against Hello Kitty.


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A Chinese heavy bronze ‘Dragon’ censer and cover, 18th century.


Provenance: Hazelwood, Shanghai circa 1930, then by descent. £1000 - 2000 + fees


26 GROSVENOR STREET, CHELTENHAM, GL52 2SG 01242 235712


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Further details can be found at www.mallams.co.uk or email cheltenham@mallams.co.uk


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ASIAN ART | NOVEMBER 2022


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