Toru: Making Rice Dumplings in the Twelfth Month (Gokugetsu no mochitsuki), from the series Scenes for the Twelve Correspondences According to the Ise Almanac, Middle Section (Reki chûdan tsukushi, Ise goyomi mitate jûni choku)
「暦中段尽し 取 （とる、＝執） 意勢古世身（いせこよみ） 見立十二直 極月の餅搗（ごくげつのもちつき）」
Genshoku ukiyo-e dai hyakka jiten 5 (1980), #67
Vertical ôban; 36.5 x 25 cm (14 3/8 x 9 13/16 in.)
Medium or Technique
Woodblock print (nishiki-e); ink and color on paper
Not On View
MFA impressions: 11.29942, 11.42546
The Twelve Correspondences (jûni choku), an important feature of Edo-period astrology, were a chronological sequence of days that were considered lucky or unlucky for various activities, calculated according to the orientation of the Big DIpper with respect to the twelve signs of the zodiac (jûnishi). In this series Kunisada associates each of the twelve lucky or unlucky days noted in the almanac with one of the twelve months.
The Twelve Correspondences, with rough translations, are: Tatsu (Building), Nozoku (Eliminating), Mitsu (Full), Taira (Even), Sadan (Distinguishing), Toru (Carrying Out), Yaburu (Overcoming), Ayabu (Dangerous), Naru (Fulfillment), Osan (Gathering), Hiraku (Opening), Tozu (Closing).
In this print, Toru (Carrying Out) refers to the preparations for the New Year celebrations that are carried out in the preceding month.
Ichiyôsai Toyokuni ga
Censors' seals: Hama, Kinugasa
No blockcutter's mark
 Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.
William Sturgis Bigelow Collection