34 - Nobukazu: Snow Landscape

Nobukazu: Snow Landscape, about 1890

Snow Landscape, from the series Snow, Moon and Flower for the Minamoto and Taira by Watanabe Nobukazu (1872?-1944). The print is from about 1890.

33 - Toyokuni I: Actor Iwai Hanshirō V as Sukeroku

Toyokuni I: Actor Iwai Hanshirō V as Sukeroku, 1816

Utagawa Toyokuni (1769-1825), or Toyokuni I, was a very influential ukiyo-e artist, best known for yakusha-e, kabuki motives. He changed the direction of how yakusha-e developed and set the standard for more than a generation. He even influenced the kabuki theatre itself.

Through Toyokuni and his students, who included Kunisada and Kuniyoshi, the Utagawa school became dominant within ukiyo-e, a dominance previously held by the Torii school.

The picture shows an uchiwa-e, a fan print, Actor Iwai Hanshirō V as Sukeroku, from 1816.

Fans of kabuki used to carry a fan (no pun intended) with a picture of their idol. However, there were fan-shaped prints in other sub-genres of ukiyo-e as well.

32 - Hokkei: En'ryû zu - The salt dragon

Hokkei: En'ryû zu - The salt dragon

This is a surimono by Totoya Hokkei (1780–1850), one of Hokusai's students. The exact year when this print was produced is unknown, but one can assume that it was made for The Year of the Dragon, and that would give us two alternatives, 1820 and 1832.

The print shows a salt dragon. The poem on the left hand side at the top was written by Ganjotei Hakuyo.

Hokkei is a versatile and interesting ukiyo-e artist. Skilled and clearly inspired by his master, Hokusai, yet he remained highly individualistic.

31 - Sûgakudô: Tit and Maple Leaves

Nakayama Sûgakudô: Tit and Maple Leaves

I don't know much about Nakayama Sûgakudô (active 1850–1860), but he made kachô-e, prints of birds and flowers. This is a Manchurian Great Tit, Maple Leaves, and Late Blooming Cherry. It is number 36 in the series Forty-eight Hawks Drawn from Life, [in Japanese: Ikiutsushi shijûhachi taka], from the 6th month of 1859.

Kachô-e was a sub-genre of ukiyo-e from the very beginning. Already then, flowers and birds had been popular motives in East Asian art for centuries.

30 - Chōki: Cat's Cradle

Chōki: Cat's Cradle, about 1804

Eishōsai Chōki (active about 1786-1808) was a student of Toriyama Sekien, who was also the teacher of Utamaro. It is possible that Chōki was the adopted son of Sekien.

The couple on the picture are Okiku and Yosuke. They are supposed to be lovers, but I don't know anything more about them. Here they are playing Cat's Cradle, a game with cords that, in one form or another, exists almost everywhere in the world.

Prints by Chōki are relatively rare and expensive.

29 - Kuniyoshi: Yôkyô (Yang Xiang)

 

Kuniyoshi: Yôkyô (Yang Xiang), 1848

The Twenty-four Paragons of Filial Piety is a book by Chinese scholar Guo Jujing, who wrote under the pseudonym Yizi. In Japan, they call him Kaku Kyokei. He lived during the Yuan dynasty in China (1260–1368).

It describes 24 cases of extreme filial loyalty, a subject that was a part of Confucian moral values.

Utagawa Kuniyoshi made several series of prints of “paragons of filial piety”. In 1848 came Morokoshi nijûshi-kô, [唐土廾四孝] - “The Twenty-four Chinese Paragons of Filial Piety, Part I”, from which this week's print is taken. It is called Yôkyô (in Chinese Yang Xiang). Yôkyô was a boy who jumped in front of his father to protect him from an attacking tiger. The tiger was scared by Yôkyô's unhesitating action and turned away. The print shows Yôkyô, his father, and the approaching tiger.

28 - Moronobu: Beauty Looking Back

Moronobu: Beauty Looking Back

The picture this week is “mikaeri-bijin” [beauty looking back] a painting by Hishikawa Moronobu (1618-1694), who was the first true ukiyo-e artist. He set the norm for bijinga, a norm to a large extent still defining bijinga as a genre. But his “beauty looking back” is not only artistically interesting, it has also influenced the Japanese language.

見返り美人 – mikaeri-bijin - became a Japanese term for a beautiful woman looking back. But in modern Japanese it has a more special meaning. It is a girl or woman looking beautiful from behind, but, when she turns around, proves to be ugly from the front. The concept contains a degree of disappointment. I don't know of any other language having a special word for this.

There is no reason to believe that the name connoted ugliness or disappointment for Moronobu. That came later.