The Brazier of Elegance and the Bell of Damnation (Fuga hibachi muken no kane)

Art Historical Context

In the vibrant world of Edo-period Japan (1603–1868), Okumura Masanobu's *The Brazier ofance and the Bell ofation* (c. 1739/40) captures the playful yet profound spirit of ukiyo-e, or "pictures of the floating." This hand-colored woodblock print, as *beni-e* (crimson pictures), showcases Masanobu's innovative early color techniques, using beni (synthetic red pigment) applied by hand to create subtle, glowing hues on the large oban format (32.7 × 45.7 cm). As a pioneer of ukiyo-e, Masanobu bridged single-color prints and the later full-color *nishiki-e*, blending beauty with subtle moral undertones. The evocative title juxtaposes *fuga hibachi*—an elegant brazier symbolizing refined courtesan life—with *muken no kane*, evoking the "bell of Avīci," the Buddhist hell of unending torment. Likely depicting a graceful beauty amid luxurious domesticity, it reflects ukiyo-e's fascination with fleeting pleasures contrasted against eternal consequences, a common motif in 18th-century Japanese art. Masanobu, active in bustling Edo (modern Tokyo), popularized actor portraits and bijin-ga (images of beautiful women), making high art accessible to urbanites. Housed in the Art Institute of Chicago's Arts of Asia collection, this rare *beni-e* exemplifies the technical leap forward in woodblock printing, influencing masters like Suzuki Harunobu. Visitors, imagine the fresh scent of hand-applied color on mulberry paper— a snapshot of Japan's golden age of printmaking!

About the Artist

Okumura Masanobu · 1686–1764

Japanese, 1686–1764