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

[Hollyhock]

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7. The Great Battle at Yashima (1185), B 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.
9. Cherry Blossom Viewing, A Part of a triptych (left). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
10. Cherry Blossom Viewing, B Part of a triptych (center). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
11. Depiction of an Official Hearing at Fukiage, B Part of a triptych (center). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.
12. Spring-Colored Garden in Snow, A Part of a triptych (left). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)
16. The Great Battle at Yashima (1185), A 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.
18. Cherry Blossom Viewing, C Part of a triptych (right). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
22. Parading of the Mochi (Rice Cakes), B Part of a triptych (center). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
23. Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, A Part of a triptych (left). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.
25. Depiction of an Official Hearing at Fukiage, C Part of a triptych (right). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.
26. The Battle of Ichinotani (1184), A 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.
28. Spring-Colored Garden in Snow, B Part of a triptych (middle). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)
29. Parading of the Mochi (Rice Cakes), A Part of a triptych (left). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
30. Snow in the Park, B Part of a triptych (center). Missing left panel. Features women walking in a park in the snow, against the backdrop of a red Buddhist pagoda and temple complex. One of the women in the center panel is knocking the snow out of her geta (shoes). This triptych showcases women's winter fashion. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with toshidama seal. Missing left panel which would likely contain publisher/carver information.
31. Snow in the Park, C Part of a triptych (right). Missing left panel. Features women walking in a park in the snow, against the backdrop of a red Buddhist pagoda and temple complex. One of the women in the center panel is knocking the snow out of her geta (shoes). This triptych showcases women's winter fashion. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with toshidama seal. Missing left panel which would likely contain publisher/carver information.
32. Parading of the Mochi (Rice Cakes), C Part of a triptych (right). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.
33. The Great Battle at Yashima (1185), C 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.
34. [Chrysanthemum]
35. Picture of the Japanese Imperial Line, B 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.
36. View of Komaba, A 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).
37. Spring-Colored Garden in Snow, C Part of a triptych (right). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)
38. View of Komaba, B 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).
39. Three Kinds of Drunks in the Modern World, A Part of a triptych (left). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)
40. Three Kinds of Drunks in the Modern World, B Part of a triptych (center). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)
41. First Warbler: Woman of the Manji Era [1658-1661] Two girls, one with a shamisen, looking outside a circular window at a green bird (a warbler) perched on a plum blossom tree. Next to them is an octagonal lacquer box with gold feet containing what looks like rice and food for the New Year (osechi ryōri). From the print series 36 Beauties Compared that visually explores a famous anthology of waka poetry titled "Thirty-six Master Poets" compiled by Fujiwara-no-Kintō. The series addresses 36 beauties from ancient times to the Era era and showcases the customs, manners, and fashions of each period. Additional notes: Signed: Toshikata (年方); Title also frequently transcribed as Thirty-six Elegant Selections (Sanjūroku kasen). This is No. 22 in the series.
42. Depiction of an Official Hearing at Fukiage, A Part of a triptych (left). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.
43. Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, B Part of a triptych (middle). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.
44. Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, C Part of a triptych (right). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.
45. First Month: Oibane (Battledore & Shuttlecock), B Part of a triptych (center). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.
46. 12 Months in the Present Day, November
47. Picture of the Japanese Imperial Line, A 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.
48. The Battle of Ichinotani (1184), B 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.
49. The Battle of Ichinotani (1184), C 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.
50. View of Komaba, C 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).
51. Moon of Gojo Bridge 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).
52. Courtesan of Okamoto-ya, no. 7 A woman is playing marginal songs (hauta 端うた) on the shamisen against indoors against a winter landscape seen through a circular window. These songs, performed by blind and amateur musicians, were popular in Osaka in the mid-18th century. It appears as if she is tuning the shamisen with a book on her lap, while warming sake. Her hair is slightly dissheveled and kimono is worn loose, indicating we are looking at a courtesan. The title tells us that she is of House Okamoto (brothel). Additional notes: Signed Kunichika-ga (国周画); Publisher's seal: Etsuka (越嘉); Blockcutter's mark: Hori Tashichi (彫多七)
53. First Month: Oibane (Battledore & Shuttlecock), A Part of a triptych (left). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.
54. Shinobugaoka Moon, Gyokuensai
55. The Story of Momotaro (The Peach Boy), A
56. [Hollyhock]
57. The Story of Momotaro (The Peach Boy), B
58. [Kabuki Theater Performance], A 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.
59. The Story of Momotaro (The Peach Boy), C
60. Evening at Shiogama
61. [Kabuki Theater Performance], C 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.
62. Picture of the Japanese Imperial Line, C 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.
63. Poem by Sasaki Bunzan. "No urinating here, being a beautiful mountain of cherry blossoms." Print illustrates a poem by Sasaki Bunzan. The 18th century calligrapher and artist Sasaki Bunzan leans back as he writes his poem on a screen: "No urinating here, beeing a beautiful mountain of cherry blossoms." Two men peer out at the calligrapher from behind the screen, and you can see the fingers of a third grasping on to the top of the screen. The print is a good example of Ogata Gekko's unconventional approach to printmaking. Additional notes: Signed Gekkō (月耕) with square seal in bottom left. Title and series title in top right. Although publisher information is not indicated here, most prints in this series were by Sasaki Toyokichi (佐々木豊吉) (Firm: Sasaki-ya 佐々木屋) (c. 1885-1898).
64. Three Kinds of Drunks in the Modern World, C Part of a triptych (right). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)
65. A Picture of the Venue of the Second National Industrial Exhibition in Ueno Park, Tokyo
66. The Moon's Invention -- Hozo Temple 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.
67. Genji at Sugatami Bridge, 12th month Part of a triptych (right). A snow scene featuring Prince Genji and attendants on Sugatami Bridge from a set of twelve months. Right panel shows a woman crossing the bridge with a snow-covered umbrella. Our collection is missing the left and center panels of this triptych. Additional notes: Publisher’s seal: Yamajin (山甚); This version is missing the black gofun (paint splatter) on the surface of the print as seen in other editions. Our collection is missing the left and center panels of this triptych.
68. First Month: Oibane (Battledore & Shuttlecock), C Part of a triptych (right). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.
69. Morning Glory, no. 20 A women stands on the veranda (engawa; 縁側) of a building with a circular window facing a garden. Morning glory (asagao 朝顔), the flower found in the title of this work, can be seen in the bottom left. The purple and red and light blue of the flowers match the colors found in her robe. The print is likely set in midsummer as morning glories are particularly associated with the heat and humidity of that season. Additional notes: Signed Toyohara Kunichika hitsu (豊原国周筆); Blockcutter's mark: Hori Gin (彫銀)
70. Mount Otowa Moon 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.
71. Bon Festival Moon 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).
72. Shirabyōshi Dancer: Woman of the Kenkyū Era [1190-99] Shirabyōshi were female entertainers of the Japanese Imperial Court who known for performing traditional dances. They dressed in men's attire and often performed these dances for the gods. Their attire would consist of a tate-eboshi hat (worn by samurai), a tachi (samurai's sword), red hakama, a white and red suikan (male Shinto outfit), and a kawahori hand fan. They also traditionally wore white facial make-up that completely covered the face and neck, with painted eyebrows. Hair was worn long or pulled back in a long ponytail secured with a robbon (takenaga). Here, you can see the entertainer seated on the floor. In this print, she wears the red hakama and the white suikan, which is pulled down to expose the garment underneath. She holds a drum in reference to her musical talent. Her hair is down and her painted eyebrows and face are clearly apparent. In the corner of the room are arrows, bows, and a set of armor. The top left of the print has a blue and white striped curtain and the scene looks to the outdoors, featuring a pine and water. Additional notes: Signed Toshikata (年方); Title also frequently transcribed as Thirty-six Elegant Selections (Sanjūroku kasen).
73. Snow at Nikko's Yomeimon (Sun Gate) This scene shows the Sun Gate (Yomeimon, 陽明門) at Nikko (日光) in the snow. Toshogu Shrine (Tōshōgū, 東照宮) is the final resting place of Tokugawa Ieyasu, the founder of the Tokugawa Shogunate that ruled Japan for over 250 years until 1868. Ieyasu is enshrined at Toshogu as the deity Tosho Daigongen, "Great Deity of the East Shining Light". Additional notes: Signed Shiro (紫浪) in the bottom right along with a seal. In the left margin (not pictured) are title and Unsodo's "Gei" watermark.
74. Flying fish
Contents of this tag:
1. The Great Battle at Yashima (1185), B 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.
2. The Great Battle at Yashima (1185), A 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.
3. The Battle of Ichinotani (1184), A 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.
4. The Great Battle at Yashima (1185), C 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.
5. The Battle of Ichinotani (1184), B 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.
6. Picture of the Japanese Imperial Line, A 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.
7. Picture of the Japanese Imperial Line, B 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.
8. [Chrysanthemum]
9. [Hollyhock]
10. Shinobugaoka Moon, Gyokuensai
11. The Story of Momotaro (The Peach Boy), B
12. [Kabuki Theater Performance], A 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.
13. The Story of Momotaro (The Peach Boy), C
14. Moon of Gojo Bridge 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).
15. The Battle of Ichinotani (1184), C 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.
16. The Story of Momotaro (The Peach Boy), A
17. [Kabuki Theater Performance], C 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.
18. Picture of the Japanese Imperial Line, C 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.
19. Mount Otowa Moon 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.
20. Bon Festival Moon 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).
Contents of this tag:
1. [Hollyhock]

This page is referenced by:

From Flowers to Warriors

From the excitement of spring’s first bloom and summer festivals to the energy of Japanese plays and battles, the “flowers” portion of this exhibition illustrates how floral kimono textiles, decorative backdrops, and single flowers can set the mood for events, performances, and scenes that are as varied as the seasons. In viewing, one can enjoy the simple beauty of a single flower, pause to consider the falling cherry blossoms or consider the Buddhist question of what it means to be human in this impermanent world.

Depictions of cherry blossom petals and hollyhock flowers invoke late spring while other illustrations convey the cooler seasons using fall chrysanthemums, winter cherry blossoms, and evergreens. Although the seasons often feel divergent, Aoyama Masaharu and Asada Benji show how spring and fall flowers can unite harmoniously into a single genre with their focal bird-and-flower compositions. Flowers are appreciated for their respective seasons and symbolism in Japan. Throughout these prints, we see people reacting to the fleeting rise and fall of seasonal life. Some figures are cheerfully moving, such as the dancers in Tsukioka Yoshitoshi’s Bon Festival Moon, while others are quietly appreciating nature, such as the woman on the veranda of Toyohara Kunichika’s Morning Glory, no. 20. Other prints replicate well-known stories and theater, bringing the artist’s creative vision to a visual interpretation of a famous tale. While impermanent by nature, the use of flora also attests to the stability of Japanese flower iconography through the Meiji (1868–1912) and Shōwa (1926–1989) eras. In a period of massive cultural and social change in Japanese history, print artists used a flower's meaning and symbolism to create a link to traditions and images of the past.

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
The hollyhock (aoi, 葵) sits broadly with its full white, pink, and red blooms framed by extending buds and basal leaves. As a relatively modern work of printmaking, Aoyama draws upon the style of earlier bird-and-flower compositions (kachō-e, 花鳥絵) found in past eras.

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

The rose chrysanthemum (kiku, 菊) spreads its beautifully radiating petals next to its half-bloomed yellow partner. In this modern print, Asada revitalizes the style of earlier bird-and-flower compositions (kachō-e, 花鳥絵).

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
A troupe of kabuki performers makes their way to the distant stage in celebration of Tango no Sekku (端午の節句), a festival held at the imperial court renamed as Children’s Day in 1948. Male figures in vivid makeup are marshaled by an attendant as an actor playing Musashibō Benkei carries an enormous bronze bell to the Chiyoda Inner Palace. Two other actors—one playing Soga Gorō with his red stage make-up and the other playing the wild child Kintarō with red skin and hair—lead the way as they process behind a striped awning. The plum blossoms indicate that the scene takes place in either late winter or early spring. The full triptych features additional figures, including a boy holding a bird of prey next to a lady-in-waiting and guests arranged around a stage in the distance not pictured here.

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

A woman stands barefooted on a veranda peering at the blossoming morning glories (asagao, 朝顔). Her hair and robes are still in disarray after her slumber. The flower symbolizes the arrival of summer in Japan and both the flowers and woman relish in the midsummer heat. The colors in her robe mimic the purple, light blue, and red hues found in the flowers. In light of the series title, the morning glory could be a veiled reference to Princess Asagao. She was the High Priestess of Kamo and was pursued by Prince Genji in Chapter 20 of the Heian-period classic The Tale of Genji, written by lady-in-waiting Murasaki Shikibu.

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

A group of villagers revel in the moonlight during the annual Bon (盆) festival. They laugh and wave their fans in celebration of their ancestors’ return to the living world.

Bon is held every year during the full moon in July. The festival is known for its dance (bon odori, 盆踊り), where groups of people move in circles performing choreographed movements along to the music. Although a night scene, Yoshitoshi’s bright colors and composition make the joyous occasion feel almost as if it was daytime. He uses a visual aesthetic based on a simplified painting style of the 18th century Shijō school.

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 depicts a classic tale from the Noh play Benkei on the Bridge: the fateful meeting of the monk-warrior Musashibō Benkei and child Minamoto Ushiwaka. At Gojo Bridge in Kyoto, Ushiwaka jumps and evades the undefeated Benkei. When Benkei learns of the youngster’s high birth, he humbly surrenders. Ushiwaka would later become the famous general Minamoto no Yoshitsune (1159–1189), and Benkei would go from enemy to loyal follower. In this print, Yoshitoshi spotlights Yoshitsune’s side of the fight as the child playfully creates a distraction with his fan.

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

Shinobugaoka (present-day Ueno) is known for the beauty of its cherry blossom trees (sakura, 桜). People often congregate under the blossoms where they enjoy each other’s company and picnic. At the time, it was common to hang kimono garments between the trees to create temporary enclosures for privacy. Here, the young samurai warrior Gyokuensai is startled by an abrupt wind that comes out-from-under his kimono carrying blossom petals. The breeze reveals his lacquered picnic box, but he appears alone in the light of the crescent moon. Tsukioka Yoshitoshi creates an ode to the fleeting beauty of spring.

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

This print highlights a scene from the Noh play, Tamura. One moonlit night, three itinerant monks visit Kiyomizu Temple. A youth appears, sweeps the fallen cherry blossoms (sakura, 桜), reveals the temple’s history, and then disappears. The monks later discover that the man was the ghost of the general Sakanoe no Tamuramaro, who assisted with the founding of the temple on Mount Otowa. Here we see the general’s ghostly visage sweeping away the petals in solitude under a cloudy moon.

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
Shirabyōshi are female entertainers who perform for the Gods at the imperial court. Per the tradition, they sport men’s attire: a tate-eboshi hat (worn by samurai), a tachi (samurai's sword), a red hakama and a white/red suikan (an outfit worn by male Shintō priests), and a kawahori hand fan. The seated shirabyōshi holds a drum, wears her hair down, and dons a white face painted with dark brows. Above her, a striped curtain opens to the outdoor landscape featuring a small stream and pine trees.

The “warriors” portion of this exhibition showcases visual narratives of battles and power in both past wars and folk stories. These prints were produced during the cultural upheaval of the Meiji period (1868–1912), a time when Japan’s modernized military would lead the country to decisive victories against China and Russia respectively in the First Sino-Japanese War (1894–1895) and the Russo-Japanese War (1904–1905).

Many prints were created to celebrate Japan’s battle prowess and successful westernization. For example, Picture of the Japanese Imperial Line shows the newly restored Meiji Emperor and his wife within the imperial lineage. His western style military uniform stands out against the traditional clothing of past emperors, asserting him as a new kind of leader for Japan. Yōshū Chikanobu defines the background in aniline red—a predominately favored color for nineteenth-century print artists—which spotlights both the emperor and new print technologies.

The remaining prints on display speak to a more nostalgic understanding of battle by invoking sword fights between samurai. The color red is used to spotlight the tensions in each fanciful interpretation. Hishikawa Harunobu uses pops of red in The Story of Momotarō (The Peach Boy) as a stately color to garment the folk hero Momotarō. Here, he returns wearing his warrior garb. He is with his animal friends, and he grasps treasure he retrieved from demons. In contrast, Utagawa Yoshitora’s historical battle scenes from the Genpei War (1180–1185) unfold through clashing colors, lines, and shapes, creating gripping suspense for the viewer. The imagery mimics the excitement and discord between opposing clans through literal and figurative designs, recalling the vivid scenes recounted in the famous literary work The Tales of the Heike. In a world quickly changing due to new military and naval technologies, these prints attest to a nostalgic interest in the samurai, whose power and authority faded in the Meiji period. 

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

These two prints feature the popular Japanese folk hero Momotarō (桃太郎) proudly returning from his quest on Onigashima, or demon island, alongside his three companions: a talking dog, a monkey, and a pheasant. After slaying a band of marauding demons, the adventurers make their way home with their island treasures in tow. The left panel of the triptych, which illustrates the monkey and Momotarō’s waiting parents, is not pictured here.
Click here to view the Triptych, The Story of Momotarō (The Peach Boy)

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

In bright colors and swirling waves, Utagawa shows the naval battle between the Taira and Minamoto clans at the Battle of Yashima (1185) during the late-Heian period Genpei War (1180–1185). The national civil war ended with a string of Taira clan defeats and their final retreat to the island Yashima. The battle portrayed here shows the ensuing Minamoto victory as the Taira clan succumbs to their force. The Battle of Yashima features prominently in the famous literary work The Tales of the Heike.
Click here to view the Triptych, The Great Battle at Yashima (1185)

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

This print illustrates a famous scene from the Heian-period Genpei War (1180–1185). In The Battle of Ichinotani (1184), the Taira clan defends the town of Suma (west of present-day Kobe) against an attack by the rivaling Minamoto clan. Despite their best efforts, the Taira clan suffered a critical defeat by the Minamoto clan, which was led by leaders Yoshitsune and Noriyori. Somewhere in the tumult of the battle, leader Taira no Atsumori is killed by the hand of Minamoto soldier Kumagai no Naozane, a scene that is recounted in a famous passage of the literary work The Tales of the Heike. This print captures the clash of swords off the coast, as calvary warriors lead the charge.
Click here to view the Triptych, The Battle of Ichinotani (1184)

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

This portrait of Emperor Meiji (明治天皇) and Empress Shōken (昭憲皇后) shows the fusion between Japanese tradition and newly imported goods from the West at the turn of the twentieth century. Emperor Meiji wears a Western military-style uniform as Empress Shōken, and other emperors and empresses of the past, contrast his attire with their traditional kimonos. The saturated red background of the print became a common way for artists to highlight the newly imported aniline dyes of the Meiji period (1868–1912).

Click here to view the Triptych, Picture of the Japanese Imperial Line