Ito Jakuchu (1716-1800), Cockerel among flowers, Edo period, mid-18th century | 伊藤若冲　花卉雄鶏図　江戸時代中期　18世紀中期

Murano Sanjin (1848-1921)

Murano Sanjin shi shozhin nyusatsu [Auction of the Collection of Murano Sanjin], Osaka Art Club, Osaka, 7th April 1918, lot 93.

Nihon Toyo bi no isan ten [Heritage of Beauty: Japanese, Chinese and Korean Art], Okada Museum of Art, Hakone, 2013, no number.

Seitan sanbyakunen onaidoshi no tensai eshi Jakuchu to Buson [Celebrating Two Contemporary Geniuses: Jakuchu and Buson], Suntory Museum of Art / Miho Museum, 2015, cat. no. 30.

Ano Utamaro ga kaettekita Fukagawa no yuki saikokai [Encore Exhibiton: Kitagawa Utamaro's Fukagawa in Snow], Okada Museum of Art, Hakone, 2015, no number.

Seitan sanbyakunen o iwau Jakuchu to Buson [Jakuchu and Buson: Celebrating Their 300th Birthdays], Okada Museum of Art, Hakone, 2016, cat.no. 2.

10th Anniversary of the Museum Part 1 Jakuchu and Isson, Okada Museum of Art, Hakone, 2022, exh. no. 10 (unillustrated).

Kobayashi Tadashi ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2013, p. 156, no. 108.

Kobayashi Tadashi, Jakuchu hyakuzu [One Hundred Paintings by Jakuchu] in Bessatsu Taiyo, vol. 227, Tokyo, 2015, plt. 51.

Shubi [Gathering of Beauty], Quarterly journal for the arts of East Asia, vol. 14, Jakuchu, Buson, Tokyo, 2015, plt. 30.

Aya Ota, Ito Jakuchu sakuhin shu [Works by Ito Jakuchu], Tokyo, 2015, p. 81.

Kobayashi Tadashi, ed., Jakuchu no egaita ikimono tachi [Jakuchu's Animals], Tokyo, 2016, pp. 30-31.

A cockerel pecks at the ground glorious in its variegated plumage. It is early spring: although some are still furled in their buds, many wild daffodils (suisen) have already started to bloom and decay; on a large weathered and porous rock, pink peonies suspend their large flowerheads on a spindly branch. The cockerel’s feathers are painstakingly rendered, yet the effect is soft and harmonious: the long curling neck feathers are echoed by the longer tail feathers; around the mid-section, darker shorter feathers create contrast. Its face and eye are full of force and character. Jakuchu’s domestic cockerels are animals of majesty, and grace, despite their status as humble poultry.    

This early work by Jakuchu already displays his idiosyncratic approach to painting, and the underlying desire to reveal the spirituality and life-force of his subjects

A painting circa 1756-57 by Jakuchu in the collection of the Ryosokuin Temple, Kyoto, depicts a similar scene: a cockerel pecking at the ground among peony and daffodils, but the landscape is covered entirely in snow. The painting also has the same seal inspired from a poem by the great Tang dynasty (618 -907) poet Du Fu (712-770):

But in painting you took no note of old age coming upon you;

wealth and rank seemed to you no more than drifting clouds.¹

This phrase itself was based on two lines in Confucius’s Analects, see Stephen Owen ed., The Poetry of Du Fu (Boston, 2015), vol. 1, p. 393:

These lines are based on two passages in the Analects. “The Duke of She asked

Zilu about Confucius, and Zilu did not respond. The Master said, ‘How come

you did not say that I am the sort of person who forgets to eat in enthusiasm

and forgets in my happiness, unaware that old age is coming on.’ ” 葉公問

孔子於子路，子路不對。子曰：「女奚不曰，其為人也，發憤忘食，樂以

忘憂，不知老之將至云爾。」 (Analects VII.18); and “The Master said, ‘Eating

coarse food and drinking water, and sleeping pillowed on one’s crooked arm —

happiness can also be found here. Wealth and nobility without goodness are to me

like floating clouds.’ ” 子曰：「飯疏食飲水，曲肱而枕之，樂亦在其中矣。不義

而富且貴，於我如浮雲。」 (Analects VII.15)²

For further reading see, Money L. Hickman and Yasuhuro Sato, The Paintings of Jakuchu (New York, 1989) p. 108-109, no. 13.

1. Stephen Owen ed., The Poetry of Du Fu (Boston, 2015), vol. 1, p. 393.

2. Ibid.

來源

村野山人 （1848 - 1921年）

大阪美術倶楽部，《村野山人氏所蔵品入札》，大阪，1915年4月7日，編號93

展覽

《日本・東洋　美の遺産展》 ，岡田美術館， 箱根，2013年，無編號

《生誕300年　同い年の天才絵師 若冲と蕪村》，サントリー美術館/MIHO美術館，2015年，編號30

《あの歌麿が帰ってきた　深川の雪　再公開》，岡田美術館， 箱根， 2015年，無編號

《生誕300年を祝う 若冲と蕪村》，岡田美術館，箱根，2016年，編號2

《開館10周年記念展 第1部 若冲と一村 - 時を超えてつながる-》，岡田美術館，箱根，2022年， 展覽編號10（沒載圖）

出版

小林忠編，《岡田美術館名品撰》，卷1，東京，2013年，編號108

太田彩，《伊藤若冲作品集》，東京，2015年，頁81

小林忠、《別冊太陽》、卷227 若冲百図，東京，2015年，編號51

《聚美》 、卷14，東京，2015年，編號30

小林忠等，《若冲の描いた生き物たち》，東京，2016年，頁30-31

雄雞昂首踱步，斑斕羽色熠熠生輝。時值早春：雖部分花苞猶未綻放，多數野生水仙已歷盛開與凋零；多孔巨岩之上，粉嫩牡丹自細枝垂懸碩大花冠。雄雞羽毛以精細筆觸呈現，卻營造出柔潤和諧之境：蜷曲頸羽與修長尾羽相映成趣，胸腹間深色短羽更添變化。其面龐與眼神飽含力量與個性。若冲筆下翎毛雖為尋常家禽，卻蘊藏雍容氣度與優雅神韻。此若冲早期作品已展露其獨特的繪畫手法，以及渴望揭示物象內在靈性與生命力的根本意圖。

京都両足院藏有一幅若冲作於約1756至1957年的畫作，描繪相似場景：雄雞於牡丹與水仙間啄食，然整片景緻皆覆蓋於白雪之下。該畫作同樣鈐有靈感源自唐代詩人杜甫詩句的印章：「丹青不知老將至，富貴於我如浮雲。」此語實源自《論語》兩段：「葉公問孔子於子路，子路不對。子曰：『女奚不曰，其為人也，發憤忘食，樂以忘憂，不知老之將至云爾。』（《論語·述而》第七篇第十八章）；及「子曰：『飯疏食飲水，曲肱而枕之，樂亦在其中矣。不義而富且貴，於我如浮雲。」（《論語·述而》第七篇第十五章）

延伸閱讀參見，莫內·L·希克曼及佐藤康宏，《 The Paintings of Jakuchu 》，紐約，1989年，頁108-109，編號13。