Hawfinch and Marvel-of-Peru, c. 1834
Woodblock print (nishiki-e); ink and color on paperexpand_more
Bequest of Richard P. Galeexpand_more 74.1.203
Not on Viewexpand_more
Four-o’clocks were introduced to Japan in the early 17th century and became popular among amateur horticulturists. To protect the flowers from direct sunlight, gardeners typically planted four-o’clocks near a fence, as mentioned in the poem. In contrast to the large, showy blooms of peonies, the “king of flowers,” which thrive in sunlight, four-o’clock blossoms are small and modest, discreetly opening late in the day and withering in the morning sun. Orange gradation along the print’s upper edge suggests sunset, when four-o’clocks are open. The poem is ascribed to “a woman of Yōdai.” A reference to fairyland or the moon, Yōdai implies the poet has super- natural beauty.
Four-o’clocks
bloom near the fence behind the peonies.
Details
- Title
- Hawfinch and Marvel-of-Peru
- Artist Life
- 1760 - 1849
- Role
- Artist
- Accession Number
- 74.1.203
- Catalogue Raisonne
- Ukiyo-e shūka 16 (1981), p. 227, vertical chūban #22.10
- Curator Approved
This record has been reviewed by our curatorial staff but may be incomplete. These records are frequently revised and enhanced. If you notice a mistake or have additional information about this object, please email collectionsdata@artsmia.org.
Does something look wrong with this image? Let us know
Zoom in on the left to the detail you'd like to save. Click 'Save detail' and wait until the image updates. Right click the image to 'save image as' or copy link, or click the image to open in a new tab.