The Dream of The Fisherman's Wife - Interpretations

Interpretations

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.

The Tamatori story was a popular subject in ukiyo-e art. The artist Utagawa Kuniyoshi produced a number of works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend. The Dream of the Fisherman's Wife is not the only work of Edo-period art to depict erotic relations between a woman and an octopus. A number of early netsuke carvings show cephalopods fondling nude women. Hokusai's contemporary Yanagawa Shigenobu created an image of a woman receiving cunnilingus from an octopus very similar to Hokusai's in his collection Suetsumuhana of 1830.

Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. However, she notes that these scholars would have seen it apart from the Kinoe no Komatsu collection and without understanding the text and visual references, depriving it of its original context. According to Chris Uhlenbeck and Margarita Winkel, "his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."