Silver Pheasant (Hakkan)

Held in the Art Institute of Chicago, this [hosoban](/glossary/hosoban) urushi-e depicts a silver pheasant (hakkan), one of the most prized of decorative East Asian birds whose plumage of black-and-white markings made it a favorite of painters in both China and Japan. The silver pheasant was a Confucian emblem of refined retirement (a bird associated with scholar-recluses) and was a frequent subject in literati painting; Shigenaga's adaptation of the motif to the [ukiyo-e](/glossary/ukiyo-e) print medium translates that scholarly iconography into a form available to a much broader Edo audience. The urushi-e technique gives the bird's dark passages a tactile gloss while leaving the white plumage to register through the unprinted paper, an economical and effective strategy. The hosoban format compresses the long-tailed bird into a narrow vertical, an arrangement that mirrors the way these birds appeared in scroll paintings hung on walls or alcoves. Shigenaga's [kacho-e](/glossary/kacho-e) prints are among his most underappreciated achievements; they demonstrate that the move from literati ink painting to commercial print did not require a loss of subtlety, only a translation of medium.