June—In this warm month the gwa dai or picture subject is waterfalls ([Plate LIX], 2), although it is [pg 91] quite allowable on account of the heat of summer to suggest cool feelings by painting snow scenes with crows (setchu ni karasu) for a color contrast ([Plate LIX], 3). All pictures painted during the month of June should suggest shady, refreshing sensations. A charming and favorite subject is water flowing through an open bamboo pipe and falling amid luxuriant vegetation into a pool below, where a little bird is bathing. This picture is technically known as kakehi ([Plate LIX], 4).
July—During this month appropriate among flower subjects is that of the seven grasses of autumn (aki no nana kusa) ([Plate LIX], 6), consisting of the bush clover, the wild pink, the morning glory, et cetera. This is most difficult to paint on account of the extreme delicacy requisite in the handling of the brush, but a skilful artist can produce most interesting effects. All sorts of wonderfully shaped insects as well as birds of brilliant plumage are permitted in the picture. The seventh day of July is known as the festival of the stars, and Kengyu, the swain, and Orihime, the maiden, are painted. July is a month devoted to Buddhist ceremonies. Saints, sages, the five hundred rakkan disciples of Shaka and the sixteen rakkans are painted. There are two other subjects appropriate, known as Tanabata ([Plate LIX], 5) and Nazunauchi ([Plate LXIV], 4).
August—The first grain of the year is now offered to the gods. A charming way of commemorating this is by the painting called stacked rice and sparrows (inamura ni suzume) ([Plate LX], 1). The rabbit and the moon, called tsuki ni usagi [pg 92] ([Plate LX], 2), because the rabbit is seen in the moon making rice cakes, and the picture known as meggetsu ([Plate LX], 3) also commemorate the offering of the products of the soil to the moon divinity. As mist abounds during August, landscapes half concealed in mist are painted. The Kano artist, Tanyu, leaned much to such scenes, which suggest the tranquility of eventide. Such subjects are known as mist showers (ugiri) ([Plate LX], 4). The Japanese have their woman in the moon, named Joga. This lovely creature having procured and drunk of the ambrosia of hermits (sennin) is said to have entered that planet. The picture is an engaging one ([Plate LX], 6), the upper portion of Joga's body being in the moon's disc and the lower portion in fleecy clouds.
September—The ninth day of the ninth month is the festival of the chrysanthemum (kiku no sekku), when sake made from the chrysanthemum is drunk. Kiku Jido, a court youth, having inadvertently touched with his foot the pillow of the emperor, was banished to a distant isle where, it is said, he was nourished by the dew of the chrysanthemum which abounded there. Becoming a hermit, he lived one thousand years. Seasonal pictures for this month commemorate this event, or reproduce the yellow and white chrysanthemum. ([Plate LXI], 1). Appropriate for September are water grasses and the dragon-fly (mizukusa ni tombo) ([Plate LXI], 5). Tatsuta hime ([Plate LXI], 2) is also painted. She is the autumn divinity, associated with the brilliant, warm and resplendent colors of the autumn season, [pg 93] and is always represented in gorgeous hues. Pictures of the deer and the early maples (hatsu momiji ni shika) ([Plate LXI], 3) are now appropriate. A favorite autumn picture is called Kinuta uchi, or the beating, on a block, of homespun cotton to give it lustre. A poor peasant woman and her child are both occupied at the task under the rays of the full moon ([Plate LXIV], 4). The sound of the blows on the block is said to suggest sad feelings. It is a law for painting such moonlight scenes that no red color be introduced, as red does not show in the moonlight (gekka no ko shoku nashi).
Fujiyama from Tago no Ura, by Yamamoto Baietsu. Plate VIII.
October—In this month geese coming from the cold regions and crossing at night the face of the moon are a favorite subject, known as tsuki ni gan ([Plate LXI], 4). Other subjects are “autumn fruits” (aki no mi) ([Plate LXI], 5), chestnuts, persimmons, grapes and mushrooms; monkeys and persimmons (saru ni kaki) ([Plate LXI], 6); squirrel and grapes (risu ni budo) ([Plate LXII], 1); and the evergreen pine (kayenu matsu), suggesting constancy ([Plate LXII], 2)
November—A month sacred to Evesco, one of the jovial gods of good luck ([Plate LXII], 3). He was the first trader, his stock being the tai fish. He is the favorite god of the merchants who, during this month, celebrate his festival. Evesama is usually represented returning from fishing with a tai under his arm. The Kano artists particularly favored this subject. Another charming picture, known as “the last of the chrysanthemums” (zan kiku) ([Plate LXII], 4), suggests the approaching close of the year. The classic way to represent this subject [pg 94] is with small, yellow chrysanthemums clinging to a straggling bamboo fence, with a few of their leaves which have begun to turn crimson. Another November picture is “the first snow” (hatsu yuki) ([Plate LXII], 5). Two puppies are frollicking in the snow, which is falling for the first time. It is said that no animal rejoices like the dog when it sees the first snowfall of winter. Snow, says a proverb, is the dog's grandmother (yuki wa inu no obasan). Okyo and Hokusai frequently painted this subject. Hatsu yuki is sometimes represented by a little snow upon the pine tree or the bamboo in a landscape. This produces a very lonely (samushii) scene. The Kyoto artists are extremely fond of painting in the month of November the subject of a peasant girl descending from the mountain village of Ohara carrying upon her head a bundle of firewood twigs, into which she has coquettishly inserted a branch of red maple leaves. This picture is called Oharame ([Plate LXII], 6). Landscapes representing fitful rain showers are appropriate for November and are called shigure. This is the month for the oshi dori ([Plate LXIII], 1). These mandarin ducks, male and female, on account of the contrast in their shape and plumage, make a very striking and favorite picture. Their devotion to each other is so great that they die if separated. Hence, such paintings not only symbolize conjugal fidelity but are also appropriate as wedding presents. There are two other kinds of birds painted in November: The beach birds, known as chi dori ([Plate LXIII], 2), and the wild duck flying over the marsh grasses (kamo ni ashi) ([Plate LXIII], 3). [pg 95] Okyo and the artists of his school excel in their vivid treatment of these last three subjects.
December—The cold weather chrysanthemum (kan kiku), the narcissus or hermit of the stream (sui sen), and the snow shelter of rice straw (yuki kakoi) ([Plate LXIII], 4) are three favorites for December. In this latter lovely subject the white chrysanthemums are huddling below the protecting snow shelter of rice straw, one or two of the flowers peeping out, their leaves being reddish on the rim and light green within. The narcissus is much painted during December. There are many ways and laws for painting this flower. Another winter subject is called joji bai, consisting of the plum tree with snow on the branches and small birds perched thereon. Kyoto artists much favor it. December landscapes are all snow scenes (yuki no san sui) ([Plate LXIII], 5) and countless are the ways in which they are treated. Another subject is nukume dori—a falcon perched upon a tree covered with snow, holding in its claws a little bird ([Plate LXIV], 3). The falcon does not tear its victim to pieces but simply uses it to warm its own feet; this accomplished, it lets its prisoner escape and during twenty-four hours refrains from flying in the direction the little bird has fled. Noblesse oblige.
The snow man or snow daruma (yuki daruma) ([Plate LXIII], 6) is painted this month by artists of all the schools.