Who painted Hina no Sekku|The Festival of Dolls (Third Month)?

Hina no Sekku|The Festival of Dolls (Third Month) was painted by Ishikawa Toyomasa in 1767.

Where can I see Hina no Sekku|The Festival of Dolls (Third Month)?

Hina no Sekku|The Festival of Dolls (Third Month) is held by Metropolitan Museum of Art.

What movement is Hina no Sekku|The Festival of Dolls (Third Month)?

Hina no Sekku|The Festival of Dolls (Third Month) is associated with Romanticism.

Artwork

Hina no Sekku|The Festival of Dolls (Third Month)

Ishikawa Toyomasa , 1767

Hina no Sekku|The Festival of Dolls (Third Month) is an ink print by the Romanticist artist Ishikawa Toyomasa. It dates from 1767 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Below, three male figures transport a wooden box, one wielding a broom, against a backdrop of tiled walls and a faintly rendered sky.

Ishikawa Toyomasa’s woodblock print, dated around 1767, depicts the traditional Japanese Hinamatsuri celebration. Executed in ink and color on paper, the composition presents a lively interior where a woman in an elaborate kimono presides over a platform laden with miniature dolls, seasonal foods, and floral arrangements. Below, three male figures transport a wooden box, one wielding a broom, against a backdrop of tiled walls and a faintly rendered sky.

Subject & Meaning

The scene captures the third‑month festival, known as the Festival of Dolls, when families display ornamental figures representing the imperial court. The central female figure, surrounded by the dolls, symbolizes the ceremonial hostess, while the accompanying men suggest the preparation and cleaning associated with the rite. The inclusion of food and flowers underscores themes of renewal and prosperity in early spring.

Technique & Style

Toyomasa employs the ukiyo‑e hallmark of bold, black outlines that define forms, while flat, saturated pigments fill the figures and objects. Subtle cross‑hatching creates tonal variation, particularly in the shadows cast by the platform and the figures’ garments. The print’s compositional balance relies on a clear division between the elevated platform and the lower activity, guiding the viewer’s eye through the narrative.

History & Provenance

Created in the mid‑eighteenth century, the print entered the collection of The Metropolitan Museum of Art, where it is catalogued as part of the museum’s Japanese prints holdings. Its acquisition reflects the institution’s broader effort to represent Edo‑period visual culture and the domestic rituals depicted in ukiyo‑e works.

Context

Hinamatsuri, celebrated on March 3, was a popular subject for ukiyo‑e artists, who often rendered the elaborate displays of dolls and associated customs. Toyomasa, active in Osaka, contributed to this genre by focusing on the intimate, interior aspects of the festival, contrasting with more public, outdoor depictions by his contemporaries.