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A Shinto Priest, Three Women and a Child

Katsushika Hokusai

A Shinto Priest, Three Women and a Child exhibition

A Shinto Priest, Three Women and a Child

High-resolution facsimiles

Material
printed, sprinkled gold on washi paper
Period of creation
Tsuzuri Project Stage 12 2018–2019
Recipient
The Sumida Hokusai Museum(Sumida Ward)

Original

Artist
Katsushika Hokusai
Historical era
Edo (19th century)
Material
ink, color, and sprinkled gold on paper
Medium
two-fold screens
Size
H162.3 × W166.0 cm
Collection
Smithsonian's National Museum of Asian Art

Description

This is one of 20 original paintings bought in 1904, by Charles Lang Freer, together with Six Tama Rivers and others, from Honma Kozo of the Honma family, who were wealthy merchants from Sakata, Yamagata Prefecture via the Japanese fine art dealer Kobayashi Bunshichi. Three women, including a mother with a child, are undergoing ritual purification by a Shinto priest wearing a red kariginu (informal clothes worn by the nobility from the Heian period onwards) on the left-hand side of the picture. The A Shinto Priest, Three Women and a Child is performed on May 3 each year at the Chikuma-jinja Shrine, Maibara-shi, Shiga Prefecture. It is said that women would follow behind a mikoshi portable shrine while wearing as many cooking pots as the number of their former lovers. From its depiction in the Tales of Ise and other sources, the event seems to have been widely known in the capital Kyoto by the Heian period, and it is counted as one of Japan‘s three strangest festivals. For the signature and seal of this work, Hokusai indicated “Toyo.” The painting is therefore presumed to have been commissioned by someone from Omi Province (today's Shiga Prefecture).

How the Works Are Created

How the Works Are Created

This section introduces the production process of high resolution facsimiles by combining Canon’s latest imaging technology and the authentic craftsmanship of Kyoto in the Tsuzuri Project.

About the Tsuzuri Project

About the Tsuzuri Project

This section shares the significance and passion behind the Tsuzuri Project and how we utilize the high resolution facsimiles of precious cultural assets, which are designated as national treasures and important cultural assets, and Japanese artworks that have left Japan.