Arts Collection

Category: Woodblock

  • Imperial Conference Woodblock

    In Awe of Exceptional Artistry

    Picture of the Imperial Conference on the Expedition

     Waseda University Library Record
    征討御会議之図
    タイトル Title 征討御会議之図 / 楊洲斎周延 画 seitō onkaigi no zu Picture of the Imperial Conference on the Expedition / Painted by Yoshusai Shuen
    Missing
    Picture of the Imperial Conference on the Expedition / Painted by Yoshusai Shuen
    Picture of the Imperial Conference on the Expedition / Painted by Yoshusai Shuen

    Picture of the Imperial Conference on the Expedition / Painted by Yoshusai Shuen; Imprint [Tokyo Prefecture]: Toshibei Yamamoto, Meiji 10 [1877] 征討御会議之図 / 楊洲斎周延 画

    Writings in the third picture: (Individual commentary) “Saigo Takamori, a samurai from Kagoshima Prefecture, was appointed army general after the Meiji Restoration and was a loyal samurai. However, together with Itagaki Tomotaka, he advocated the invasion of Korea and the matter was resolved. At that time, the Iwakura, Okubo and Kido clans opposed this. Takamori was angry at his injustice and left for Kagoshima. He established a private school and recruited soldiers under the pretext of his students. He eventually attacked the Kumamoto garrison. As a result, the government ministries and officials held a meeting at the Imperial Palace to hear the report. The Imperial Court was also deeply concerned about the suffering of the people, and after discussing it with the various clans, appointed Prince Arisugawa, Second Rank, Orihito, as the commander-in-chief of the expedition. It was said that Saigo Takamori was a criminal for the nation. This was not only a cause for concern for the Emperor, but it was also a pity that he had made his name as a traitor known to all generations.”

    個別解説:「鹿児島県士族西郷隆盛は維新以降陸軍大将に任し勤王の士なりしが　板垣知高等と共に征韓の論を主張し議殆と決す　時に岩倉大久保木戸の諸氏等之を非議す　隆盛其非●●れしを怒り鹿児島に去り　私学校を設け生徒を名として兵士を募り　終に熊本鎮台を襲ふ　之れに依て官省勅奏の方々廟堂に会議す　朝廷にも深く万民の難苦を憂慮あらせられ　諸氏と議し有栖川二品親王織仁公を以て征討総督に任せしと　鳴呼西郷隆盛の国家の罪人なるや　聖上の宸襟を悩まし奉るのミならず逆賊の名を天下万世に顕したるは　実に憐むべき次第ならずや」

  • Four Women by Kitagawa Utamaro

    WOODBLOCK PRINT

    UTAMARO (1753~1806)

    Writings in the print: 風流花之香遊　上 / ふうりゅうはなのかあそび /Elegant Pleasures: The Scent of Flowers, Item 1 of 2 Source

    During the Tenmei era, perhaps because of the long period of imperial rule or a reflection of the lax politics of the time, people of Edo often enjoyed outdoor outings.
    Utamaro paints a group of eight people, four in each painting. His ability is apparent in the arrangement of the figures, but his depiction of the figures still gives the impression of his youth as an artist, as is evident in the asymmetric depiction of the upper and lower bodies of the woman sitting on a stool in the picture on the right. Also, his youth is likely the reason why he was so careful to depict the clothing patterns that the depiction of the furisode kimono gives an impression of flatness. Source
    “Four Women,” a print by Kitagawa Utamaro, depicts four courtesans engaged in the “Four Elegant Accomplishments” within an Edo pleasure house, essentially parodying the traditional Chinese concept of refined cultural pursuits typically associated with educated men; this is a playful subversion where the women are shown mastering calligraphy, playing go, painting, and music, highlighting the evolving societal roles and expectations of women during the Edo period in Japan.

    Utamaro studied painting under Sekien Toriyama’s (Toyofusa) guidance.

    Utamaro named himself Toyoaki and changed this name to Utamaro.

    He painted mostly actors’ portraits, flower and bird pictures in his earlier years and began to work on beautiful women and their customs: most models of these women were from those of the gay quarters.

    Utamaro deplored the fact that only actors’ portraits were then popular, so he began to produce pictures of the well-known beautiful and popular young girls in Edo and the popular courtesans of the Yoshiwara gay quarters, in his unique and skillful technique of realism. His elegant style of painting gained great popularity with all the people of Edo city, present-day Tokyo.

    Figures in half-length called “Ohkubi-e or big-head pictures”, were of his unique creation. Utamaro’s reputation swept all over Edo and his works were so overwhelmingly in fashion that many imitations also came to be produced. That is the reason why most of his prints have his own signature on them, for he made it a rule to sign his name, after imitation began to appear.

    In the Kansei era, when there was political restoration, his works incurred the displeasure of the Tokugawa government and Utamaro was chastised by being handcuffed for 50 days. As a result of this punishment, he lay on his bed in over-all agony.

    UCHIDA ART CO., LTD.

    KYOTO HANDICRAFT CENTER

    Kumanojinja-Higashi, Sakyo-ku, Kyoto, 606, Japan

    Tel. (075) 761-0345 (5 Lines)

    More
    Four Women by Kitagawa Utamaro
    Four Women by Kitagawa Utamaro

  • Beauties in the Rain


    WOODBLOCK PRINT

    Torii Kiyonaga (1752~1815)

    Edo Beauties in the Rain: A Modern Fashion Scene ⻛俗東之錦·⾬中美⼈ (/1), 1960s ，木刻版画 Woodblock print， 40 x 27 cm Source

    In 1765, Kiyonaga became a pupil of Torii Kiyomitsu, the third head and chief of the Torii clan. In those days, the Torii were engaged in the hereditary business of drawing performance programs and billboard pictures for the three theaters in Edo. Several years of this kind of work improved his skill and he was allowed to call himself Torii Kiyonaga, and in 1770 he produced his first prints of actors’ figures.

    When Kiyomitsu died in 1785, and there was no offspring to succeed to the seat of honor, Kiyonaga became fourth head and chief of the Torii family, and from that time on to his death in 1815, he devoted himself to his family business. Kiyonaga, following the path his master Kiyomitsu opened for him, studied how to draw actors’ figures in the Torii style, but in 1775, when he began to produce his prints of beauties for the first time, his style was never the same. In 1781, he had established his own style―with small faces, round eyes, small and long chins and slender necks.

    His beauties are taller and more proportionate. From 1781 to 1788, or in the Tenmei period, Kiyonaga was at his best.

    As Ukiyoe artist, Kiyonaga far excelled his contemporaries with his color tones and his lines.

    Kiyonaga’s masterpieces are found among prints of beautiful ladies with elegant features and simple subdued colors.

    People in the 1790’s came to find more vivid appeal in Utamaro (1753C1806)’s colorful beauties than in Kiyonaga’s, with his subdued colors, but Kiyonaga never tried to change his own style to flatter the decadent mood of the time. After 1792, indeed, he produced very few prints.

    Kiyonaga died on May 21, 1815, aged 63.

    Ebay keywords: Torii Kiyonaga ‘Three Women Holding Umbrellas Strolling in Rain’ Woodblock Print

    UCHIDA ART CO., LTD.

    More

  • Japanese Wood Block – Moon at High Tide

       (Ideshio no tsuki/いてしほの月)

    100 Aspects
    Japanese Woodblock Print

    Original woodblock print – Mulberry paper – Man, Woman – Tsukioka Taiso Yoshitoshi (1839-1892) – The Moon at High Tide いてしほの月 – From “Tsuki hyakushi” 月百姿 (One Hundred Aspects of the Moon) – Japan – 1885-92[ Translate ]Original woodblock print – Mulberry paper – Man, Woman – Tsukioka Taiso Yoshitoshi (1839-1892) – The Moon at High Tide いてしほの月 – From “Tsuki hyakushi” 月百姿 (One Hundred Aspects of the Moon) – Japan – 1885-92 Artist: Tsukioka Yoshitoshi (1839-1892) Title: ‘Iteshiho no tsuki’ いてしほの月 (The Moon at High Tide) Series title: “Tsuki hyakushi” 月百姿 (One Hundred Aspects of the Moon) Publisher: Akiyama Buemon Date: 1885-1892 Size: 37. 1 x 25 cm Condition: Backed, creases, creases, watermarks on the top left and bottom, partly thin areas and ink spotted. This design is based on one of the most popular Noh theatre plays called ‘Takasago’. The story tells of an aged man and woman, Jo and Uba. They fell in love when they were young and lived a long life together. Such was their devotion to each other that even in death, their spirits then went to reside in two ancient pine trees, symbols of longevity. On moonlit nights, they returned to human form to rake pine needles on the shore. See British Museum: https: //www. britishmuseum. org/collection/object/A_1906-1220-0-1424