23 - Kuniyoshi: Doll Parodies

Kuniyoshi: Doll Parodies (Ningyô mitate), 1856

This is a mitate-e from 1856 by Utagawa Kuniyoshi (1797-1861). It is named Doll Parodies (Ningyô mitate), and depicts Shintoism, Confucianism and Buddhism (Shinjubutsu).

We see Hinzuru and Uzume dancing in the foreground, while Confucius and Mencius (sitting) play Go behind them.

Uzume (left) is a Shinto goddess of joy and happiness, Hinzuru (right) is a Buddhist saint. Confucius is the founder of Confucianism, and Mencius is the most famous Confucian philosopher after Confucius himself.

The print depicts “dolls” in the Kannon Temple in Asakusa, yet these were not dolls in a conventional sense. They were life-size statues, clothed and realistic.

1855-1856, Kuniyoshi made a whole series of prints of the dolls displayed in the Kannon Temple, Tôsei mitate ningyô no uchi (當盛見立人形之内), of which “Doll Parodies” is one.

22 - Kyōsai: May (Shōki Riding a Tiger)

Kyōsai: May, (Shōki Riding a Tiger)

This is a triptych by Kawanabe Kyōsai (1831-1889), a skilled artist who considered himself the heir of Hokusai. He made woodblock prints and painted; in addition to that, he was the first political caricaturist in Japan, which caused him three jail sentences.

This triptych from 1887 is part of a series with the twelve months. It represents May, which is also written in English to the right.

Riding on a tiger is Shōki, the Demon Queller. He was a protector against demons and disease. Originally Chinese, as Chung Kwei, he was adopted by the Japanese during the 12th century. Shōki frequently appears as a motive in ukiyo-e.

On Boy's Day, in the 5th month, people used to hang pictures of Shōki, so Kyōsai let him represent May.

21 - Kuniyasu: Parody of Shi Jin, the Nine Dragoned: Akomi of the Ôgiya

Kuniyasu: Parody of Shi Jin, the Nine Dragoned: Akomi of the Ôgiya

Here we have one of those hard-to-interpret mitate-e, with many layers of meaning in contrast with each other. At first sight this is nothing more than a bijinga. Indeed, it is a specified woman, Akomi of the Ôgiya. The print is made by Utagawa Kuniyasu (1794-1832), and it is called Parody of Shi Jin, the Nine Dragoned (Kyûmonryû Shishin no mitate): Akomi of the Ôgiya; from the series One Hundred and Eight Heroes of the Popular Shuihuzhuan (Tsûzoku Suikoden gôketsu hyakuhachinin no hitori)."

The Ôgiya was a great brothel in Yoshiwara, Edo's pleasure district. Many ukiyo-e artists created bijinga with portraits of courtesans from this "House". As so many aspects of life in old Japan, a brothel, or a "House", was organised according to a strict hierarchy. The reigning courtesan of the Ôgiya had the hereditary name Hana-o gi.

But who is Shi Jin, the nine-dragoned, with whom Kuniyasu contrasts the courtesan?

He is a character in a Chinese literary classic, Shuǐhǔ Zhuàn (Water Margin). The story is too long to be told here, but Shi Jin had nine dragon tattoos on his body. Compare that to the pattern of the courtesan's kimono.

It is customary to translate "mitate" to "parody", but it can be misleading. I have explained that in a previous article.

20 - Gakutei: Moonlit Night at Suehiro Bridge

Gakutei: Moonlit Night at Suehiro Bridge

Yashima Gakutei (1786–1868) studied under both Hokusai and Totoya Hokkei. He was a poet as well as an artist.

His prints are technically advanced, although he made mainly surimono and book illustrations. His landscapes and seascapes are of a very high quality.

This week's picture is "Moonlit Night at Suehiro Bridge", in the series: Famous Places of Naniwa (Osaka), Views of Tempozan at a Glance (Tempozan Suehiro Bashi - Tsukiyo no Zu) from the 1830s (probably 1834). The style is noticeably influenced by Hokusai.

This was the northern entry into the system of channels covering the land of Tempozan, in Osaka. 

19 - Utamaro: Scops Owl and Bullfinches

Utamaro: Scops Owl and Bullfinches

Momo chidori kyôka awase [One Hundred Birds in a Competition of Humorous Poetry] from about 1790, sometimes considered the epitome of kachô-e, is an album by Kitagawa Utamaro (1753-1806). In my opinion, there are more beautiful examples of kachô-e, but Utamaro's studies of birds are exquisite. 

The album was published by Tsutaya Juzaburo (1748-1797) as one of his anthologies of kyōka, a form of comic verse. His friend Utamaro illustrated several of those anthologies. Momo chidori kyôka awase is the most famous result of their co-operation.

The picture I have chosen from the album is Scops Owl (Mimizuku) and Bullfinches (Uso).

Kachô-e (also called kachô-ga) is a sub-genre of ukiyo-e. Strictly, it is defined as “studies of flowers and birds”, but while many artists limited themselves to flowers and birds, others went beyond that to other plants and animals. In a broader sense we can say that kachô-e is about studies of plants and animals in general.

18 - Kôkan: Girl on a veranda

Kôkan: Girl on a veranda

Shiba Kôkan (1747-1818), or Suzuki Harushige, was a very skilled artist who worked with a large number of styles and techniques. One of his specialities were woodblock prints in Harunobu's style. He even signed some of them with Harunobu's name. Today we would call that forgery.

This print is “Girl on a veranda” by Kôkan - falsely signed “Harunobu”. Note that Kôkan imitated Harunobu's style, but made his own picture.

17 - Nobukazu: Love Of Fireflies

Nobukazu: Love Of Fireflies - 1896

Watanabe Nobukazu (1872?-1944), a student of Yōshū Chikanobu, made pictures ranging from traditional ukiyo-e, such as bijinga, to pictures of Tokyo on the verge of modernisation, or war scenes from the wars with China or Russia. He is one of the very last ukiyo-e artists.

This is a bijinga by Nobukazu: “Love Of Fireflies” from 1896.  It is not a woodblock print but a lithograph.