Artwork

見立『平家物語』紅葉焚図|Parody of Palace Servants Heating Sake over a Fire of Maple Leaves

見立『平家物語』紅葉焚図|Parody of Palace Servants Heating Sake over a Fire of Maple Leaves is an ink print by the Baroque artist Okumura Masanobu. It dates from 1750 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Created around 1750 by Okumura Masanobu, this benizuri-e woodblock print depicts a whimsical reinterpretation of scenes from the Heike Monogatari.

Created around 1750 by Okumura Masanobu, this benizuri-e woodblock print depicts a whimsical reinterpretation of scenes from the Heike Monogatari. Rendered in ink and color on paper, it features three courtly women engaged in an absurdly elegant act: heating sake over a fire of maple leaves. The composition balances decorative richness with playful absurdity, characteristic of Masanobu’s genre-bending approach to ukiyo-e.

Subject & Meaning

The scene parodies the tragic tale of the Heike by replacing warriors with palace attendants performing a frivolous ritual. The maple leaves, symbolic of autumn’s transience, become fuel for warming sake—a domestic act contrasting sharply with the epic’s themes of war and loss. The women’s elaborate attire and props suggest courtly life, yet their actions invert solemnity into lightheartedness, inviting viewers to reflect on the fragility of status and tradition.

Technique & Style

Masanobu employed benizuri-e, a technique using limited red pigment alongside ink and subtle greens and golds, to create vivid yet restrained color harmony. Forms are simplified with bold outlines and flat planes, enhancing the print’s graphic energy. The upward sweep of the leaf-laden branch and the angular postures of the figures lend rhythm to the scene, while the absence of detailed backgrounds focuses attention on the absurdity of the moment.

History & Provenance

The print entered the collection of The Metropolitan Museum of Art as part of its broader acquisition of Edo-period ukiyo-e. Its survival in good condition reflects its appeal to collectors interested in humorous or satirical prints. Though little is known of its early ownership, its presence in major institutions underscores its recognition as a distinctive example of mid-18th-century popular print culture.

Context

In mid-1700s Edo, ukiyo-e artists increasingly drew from literary classics to entertain urban audiences. Masanobu, a pioneer in this trend, often juxtaposed high culture with everyday absurdity. This print aligns with a broader trend of 'mitate'—visual puns that recontextualize revered subjects—offering witty commentary on social norms while appealing to the tastes of a growing merchant class.

Legacy

Okumura Masanobu’s playful reimagining of classical narratives influenced later ukiyo-e artists who embraced satire and genre blending. While not widely replicated, this print remains a key example of how Edo-period printmakers used humor to engage with cultural memory. Its enduring presence in museum collections highlights its role in expanding the thematic range of woodblock printing beyond portraiture and landscapes.