Hawfinch and Marvel-of-Peru, c. 1834

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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.

bloom near the fence behind the peonies.

Hawfinch and Marvel-of-Peru
Artist Life
1760 - 1849
Accession Number
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.

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