Kawanabe Kyōsai 河鍋暁斎, Kyōsai hyakki gadan 暁斎百鬼画談 1889

Artist: Kawanabe Kyōsai 河鍋暁斎 (1831-1889)

Title: Kyōsai hyakki gadan 暁斎百鬼画談 

Date of Publication: 1889, Publisher: Inokuchi Matsunosuke 井口松之助

Medium: Woodblock printed, gajōsō accordion-style, ink on paper.

Dimensions: 21.2 x 12.2 x 1.6 cm

Gift of: Tress, Arthur (donor) (Tress Collection copy)

Kislak Center for Special Collections – Arthur Tress Collection. Box 29, Item 16.

Kyōsai’s Hyakki gadan features many, or “one hundred,” ghosts (yōkai 妖怪) and monsters (bakemono 化け物). The yōkai are a class of supernatural monsters, spirits and demons in Japanese folklore. In addition to the folklore in Kyōsai’s Hyakki Gadan the history of the narrative is also an important element to Kyōsai’s work. This popular topic has many precedents, including the many illustrated books by Toriyama Sekien from the eightteenth century, with one of the earliest extant examples the painting by Tosa Mitsunobu from the 1500s.

The topic of these spectral figures was also part of the tradition of telling ghost stories, particularly enjoyed during the summer months. On some occasions, people would gather at dusk and tell ghost stories to each other, extinguishing a candle after each story would be completed. As each candle was blown out, it was thought that a yōkai would appear in the room. This is illustrated in Hyakki Gadan in the image where a man dressed in black is telling a scary tale to a group of people . Soon after the book shows a parade of yōkai and bakemono entering, shown moving across the page from the right to the left. At the end, the monsters run from the rising sun back to the underworld. For Kyōsai, the story is clearly about these monsters and the relationship they have with people. There is little to no background in the images. Thus, it pulls the reader into the “floating world.” This is a dream space, a place for stories, and a lack of background is disorienting yet places the reader into the appropriate space for the story to take place. This place is somewhere in the world of dreams, and the light at the end seems to wake the reader out of this world.

Other copies of the Book:

 Selected readings

  •  Jack Hillier, The Art of the Japanese Book, 2 vols. (London: Sotheby’s Publications by Philip Wilson Publishers, 1987), see esp. vol. 2, 938, 944.
  • Oikawa Shigeru, Commentary, Pulverer Collection: https://pulverer.si.edu/node/388/title/1
  • Hiroshige Utagawa 歌川広重, Fujimi Hyakuzu 無題 [富士見百図] (one hundred views of Mt. Fuji, 1859.
  • According to Oikawa Shigeru’s commentary, the red circle of the sun represents the fireball that emerges from a Buddhist dharana spell; see https://pulverer.si.edu/node/388/title/1 (accessed November 26, 2019).

Posted by Derek Rodenbeck

April 15th, 2020