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Japanese Prints @ St. Kate's: Selections from the Archives & Special Collections at St. Catherine University

From Flowers to Warriors

TOYOHARA Kunichika 豊原国周

Japanese, 1835–1900

Morning Glory, no. 20

第二十号　朝顔

From the series Fifty-four Chapters of The Tale of Genji in Modern Times

1884 (Meiji 17)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

TSUKIOKA Yoshitoshi 月岡芳年

Japanese, 1839–1892

Gojo Bridge Moon

五条橋の月

From the series One Hundred Aspects of the Moon

1888 (Meiji 21)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

TSUKIOKA Yoshitoshi 月岡芳年

Japanese, 1839–1892

Shinobugaoka Moon, Gyokuensai

忍岡月　玉淵斎

From the series One Hundred Aspects of the Moon

1889 (Meiji 22)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

TSUKIOKA Yoshitoshi 月岡芳年

Japanese, 1839–1892

Mount Otowa Moon: Tamura Myōjin

音羽山月　田村明神

From the series One Hundred Aspects of the Moon

1886 (Meiji 19)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

TSUKIOKA Yoshitoshi 月岡芳年

Japanese, 1839–1892

Bon Festival Moon

盆の月

From the series One Hundred Aspects of the Moon

1887 (Meiji 20)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

MIZUNO Toshikata 水野年方

Japanese, 1866–1908

Shirabyōshi Dancer: Woman of the Kenkyū Era [1190-99]

白拍子　建久頃婦人

From the series Thirty-six Beauties Compared

1893 (Meiji 26)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

YŌSHŪ Chikanobu 楊洲周延

Japanese, 1838–1912

[Kabuki Theater Performance]

From the series Customs of the Inner Palace of Chiyoda Castle

1895 (Meiji 28)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

AOYAMA Masaharu 青山正治

Japanese, 1893–1969

[Hollyhock]

c. 1950 (Shōwa 25)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

ASADA Benji 麻田辨自

Japanese, 1899–1984

[Chrysanthemum]

1949 (Shōwa 24)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

HISHIKAWA Harunobu 菱川春宣

Japanese, active 1875–1891

The Story of Momotarō (The Peach Boy)

伽噺桃太郎

1890 (Meiji 23)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

UTAGAWA Yoshitora 歌川芳虎

Japanese, active 1836–1887

The Great Battle at Yashima (1185)

讃州屋嶋源平大合戦之図

c.1847-52 (Kōka 4 – Kaei 5)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

UTAGAWA Yoshitora 歌川芳虎

Japanese, active 1836–1887

The Battle of Ichinotani (1184)

寿永三年一ノ谷合戦之図

c.1847-52 (Kōka 4–Kaei 5)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

YŌSHŪ Chikanobu 楊洲周延

Japanese, 1838–1912

Picture of the Japanese Imperial Line

大日本皇統図畧

1879 (Meiji 12)

Polychrome woodblock print; ink and color on paper

Courtesy of St. Catherine University

Archives & Special Collections

Contents of this tag:

Part of a triptych (center). A print featuring the naval battle at Yashima (屋嶋) (22 March 1185) during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. Following a string of defeats, the Taira clan retreated to Yashima (in today's Takamatsu) off the coast of Shikoku. The ensuing naval battle resulted in a Minamoto victory. It was led by Minamoto no Yoshitsune (on the Minatoto side) and Taira no Munemori and Taira no Noritsune (on the Taira side). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censor's seals: Muramatsu and Yoshimura. No blockcutter's mark could be identified.
Part of a triptych (left). A print featuring the naval battle at Yashima (屋嶋) (22 March 1185) during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. Following a string of defeats, the Taira clan retreated to Yashima (in today's Takamatsu) off the coast of Shikoku. The ensuing naval battle resulted in a Minamoto victory. It was led by Minamoto no Yoshitsune (on the Minatoto side) and Taira no Munemori and Taira no Noritsune (on the Taira side). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censor's seals: Muramatsu (村松) and Yoshimura (吉村); No blockcutter's mark could be identified.
Part of a triptych (left). A print depicting The Battle of Ichinotani (寿永三年一ノ谷合戦) in 1184. This was a Taira defensive position at Suma during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. The Taira suffered a crucial defeat to the forces of Yoshitsune and Noriyori. The death of Taira no Atsumori at the hand of Kumagai no Naozane is a particularly famous passage in Tales of the Heike (Heike Monogatari). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censors' seals: Mera (米良), Murata (村田) (Mera is upside down on right panel). No blockcutter's mark.
Part of a triptych (right). A print featuring the naval battle at Yashima (屋嶋) (22 March 1185) during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. Following a string of defeats, the Taira clan retreated to Yashima (in today's Takamatsu) off the coast of Shikoku. The ensuing naval battle resulted in a Minamoto victory. It was led by Minamoto no Yoshitsune (on the Minatoto side) and Taira no Munemori and Taira no Noritsune (on the Taira side). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censor's seals: Muramatsu and Yoshimura. No blockcutter's mark could be identified.
Part of a triptych (left). A view of a military parade at Komaba (駒場). Today, this is a residential neighborhood in Meguro, Tokyo. Mt. Fuji can be seen in the background. Additional notes: Signed Mōsai Yoshitora ga (孟斎芳虎画) in the bottom right of the right print; Publisher's seal: Dobashi Matsudaya han (土橋政田屋板); Blockcutter's seal: Hori Chō (彫長); Censor's seal: Aratame 1870 Horse 4th Mo (改午四).
Part of a triptych (center). A view of a military parade at Komaba (駒場). Today, this is a residential neighborhood in Meguro, Tokyo. Mt. Fuji can be seen in the background. Additional notes: Signed Mōsai Yoshitora ga (孟斎芳虎画) in the bottom right of the right print; Publisher's seal: Dobashi Matsudaya han (土橋政田屋板); Blockcutter's seal: Hori Chō (彫長); Censor's seal: Aratame 1870 Horse 4th Mo (改午四).
Part of a triptych (left). Emperor Meiji (昭憲皇后) (1852-1912) and Empress Shōken (昭憲皇后)(1849-1914) are surrounded by the emperors and empresses of the past. Meiji stands out for his western military-style outfit. Additional notes: Signed Yōshū Chikanobu (楊洲周延) in cartouche with toshidama seal; Blockcutter's seal: Hori Sada (彫定). There is also an inscription that gives the artist's name and address as Hashimoto Naoyoshi 橋下直義 living in Ueno.
Part of a triptych (center). Emperor Meiji (昭憲皇后) (1852-1912) and Empress Shōken (昭憲皇后)(1849-1914) are surrounded by the emperors and empresses of the past. Meiji stands out for his western military-style outfit. Additional notes: Signed Yōshū Chikanobu (楊洲周延) in cartouche with toshidama seal; Blockcutter's seal: Hori Sada (彫定). There is also an inscription that gives the artist's name and address as Hashimoto Naoyoshi 橋下直義 living in Ueno.
Part of a triptych (center). A print depicting The Battle of Ichinotani (寿永三年一ノ谷合戦) in 1184. This was a Taira defensive position at Suma during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. The Taira suffered a crucial defeat to the forces of Yoshitsune and Noriyori. The death of Taira no Atsumori at the hand of Kumagai no Naozane is a particularly famous passage in Tales of the Heike (Heike Monogatari). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censors' seals: Mera (米良), Murata (村田) (Mera is upside down on right panel). No blockcutter's mark.
The young Minamoto no Yoshitsune (源義経) leaping above the Gojo Bridge, throwing down his fan. According to Scholten Japanese Art, "This composition is a novel take on a classic subject: the fateful meeting of the monk-warrior Musashibo Benkei and Minomoto no Yoshitsune on Gojo Bridge in Kyoto, where the young but nimble Yoshitsune manages to evade the previously undefeated warrior Benkei. Most depictions of this scene contrast the massive brute Benkei with the elegant Yoshitsune (who moments before had been delicately playing a flute) against the dramatic setting of the arching bridge. Here Yoshitoshi focuses only on Yoshitsune who leaps through the air and distracts his opponent by tossing his folding fan which falls in the foreground." Additional notes: Signed Yoshitoshi (芳年) with seal; Blockcutter's mark: Yamamoto (山本); Publisher's seal: Akiyama Buemon (秋山武右衛門).
Part of a triptych (right). A print depicting The Battle of Ichinotani (寿永三年一ノ谷合戦) in 1184. This was a Taira defensive position at Suma during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. The Taira suffered a crucial defeat to the forces of Yoshitsune and Noriyori. The death of Taira no Atsumori at the hand of Kumagai no Naozane is a particularly famous passage in Tales of the Heike (Heike Monogatari). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censors' seals: Mera (米良), Murata (村田) (Mera is upside down on right panel). No block cutter's mark.
Part of a triptych (right). A view of a military parade at Komaba (駒場). Today, this is a residential neighborhood in Meguro, Tokyo. Mt. Fuji can be seen in the background. Additional notes: Signed Mōsai Yoshitora ga (孟斎芳虎画) in the bottom right of the right print; Publisher's seal: Dobashi Matsudaya han (土橋政田屋板); Blockcutter's seal: Hori Chō (彫長); Censor's seal: Aratame 1870 Horse 4th Mo (改午四).
Part of a triptych (left). Missing middle panel. Depicting a kabuki performance at the Chiyoda Inner Palace. The scene is set in late winter/early spring due to the plum blossoms (ume, 梅). Several male figures in kabuki makeup carry a bronze bell on the right panel while on the left panel the spectators appear in the distance. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but unidentified.
Part of a triptych (right). Emperor Meiji (昭憲皇后) (1852-1912) and Empress Shōken (昭憲皇后)(1849-1914) are surrounded by the emperors and empresses of the past. Meiji stands out for his western military-style outfit. Additional notes: Signed Yōshū Chikanobu (楊洲周延) in cartouche with toshidama seal; Blockcutter's seal: Hori Sada (彫定). There is also an inscription that gives the artist's name and address as Hashimoto Naoyoshi 橋下直義 living in Ueno.
The head priest of the Hozoin Temple, Kakuzenbo Hoin In-ei (1521-1607), grasps a spear whilst looking at the reflection of a cresent moon in the water. The artist is "suggesting that this priest was inspired to invent the formidable crescent spear by the sight of the moon bisecting his reflected staff" (Lavenberg Collection of Japanese Prints). Additional notes: Signed Yoshitoshi (芳年); Artist's Seal: Kai (魁); Blockcutter's mark: Yoshihisa (義久刀). Publisher's information and seal has been trimmed from this print.
Part of a triptych (right). Missing middle panel. Depicting a kabuki performance at the Chiyoda Inner Palace. The scene is set in late winter/early spring due to the plum blossoms (ume, 梅). Several male figures in kabuki makeup carry a bronze bell on the right panel while on the left panel the spectators appear in the distance. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but unidentified.
This design is taken from a Noh-play called Tamura. According to the Lavenberg Print Collection, three itinerant monks visit the Kiyomizu Temple on a moonlit night in Spring. A youth appears and begins to sweep away fallen cherry blossoms with a broom. The monks ask him about the history of the temple, he answers, and then briefly disappears. A local commoner comes on the stage and tells them that the youth must have been the ghost of Sakanoe no Tamuramaro, who was a famous general of the later Nara period (710-794). Additional notes: Signed Yoshitoshi (芳年); Artist's Seal: Taiso (大蘇); Blockcutter's mark: Yamamoto (山本). Publisher information appears to be trimmed.
Three women and two men dance under the moon to celebrate the Bon (盆) festival, a summertime festival still celebrated today. During this festival season, the ancestors return to the living world. According to John Stevenson, this print is drawn in the Shijō style, a simplified style of painting developed by 18th century artist Matsumura Goshun. Additional notes: Signed Yoshitoshi (芳年); Artist's Seal: Taiso (大蘇); Blockcutter's mark: Enkatsu (雕エ圓活); Publisher's seal: Akiyama Buemon (秋山武右衛門).

This page references:

From Flowers To Warriors