Artwork

鶏図衝立を見る鶏|Cock Eyeing a Free-standing Screen Painted with Cock, Hen, and Chicks, from Spring Rain Surimono Album (Harusame surimono-jō), vol. 1

鶏図衝立を見る鶏|Cock Eyeing a Free-standing Screen Painted with Cock, Hen, and Chicks, from Spring Rain Surimono Album (Harusame surimono-jō), vol. 1 is an ink print by the Romanticist artist Yanagawa Shigenobu. It dates from 1813 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

This two‑page leaf from the privately issued "Spring Rain" surimono album presents a pair of modest ink‑and‑color compositions on thin paper.

This two‑page leaf from the privately issued "Spring Rain" surimono album presents a pair of modest ink‑and‑color compositions on thin paper. The right‑hand image features a rooster, its plumage rendered in vivid hues, perched beside a standing wooden screen that depicts a domestic scene of a cock, hen and their chicks nestled among bamboo. The left page contains a simple marine motif of a squid and shell beside a red‑lined box bearing Japanese script.

Subject & Meaning

The central figure—a proud rooster—serves as a visual focal point, its stance suggesting vigilance and vitality. The screen it observes illustrates a familial tableau of poultry, a common motif symbolizing fertility and the continuity of life in Edo‑period iconography. The juxtaposition of the bird with the painted scene may allude to the rooster’s role as a guardian of the household.

Technique & Style

Executed as a surimono, the work employs traditional woodblock carving combined with hand‑applied color and ink washes. Fine cross‑hatching creates subtle tonal gradations, while the use of bright pigments on the rooster’s feathers contrasts with the more muted, delicate brushwork of the bamboo grove. The hand‑mounted album format allows for intimate viewing and emphasizes the precision of the printmaking process.

History & Provenance

Created around 1813 by Yanagawa Shigenobu, a prolific ukiyo‑e artist known for his elegant figures and genre scenes, the print was part of a limited‑edition album produced for a private circle of connoisseurs. The album later entered the collection of The Metropolitan Museum of Art, where it is preserved as an example of early 19th‑century surimono publishing.

Context

Surimono were typically commissioned for poetry gatherings, festivals, or as gifts among literati, allowing artists to experiment with luxurious materials and intricate designs beyond the commercial market. Shigenobu’s work reflects the period’s fascination with everyday subjects rendered with refined detail, aligning with the broader Edo‑era interest in domestic life and natural observation.