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

Yōshū Chikanobu

YŌSHŪ Chikanobu  楊洲周延

Alternate Names: Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)

Painter and print artist Yōshū Chikanobu began his artistic career as a Kanō School painter and subsequently studied print design under the disciples of Keisai Eisen.  At around seventeen years old, he entered the studio of Utagawa Kunisada I. In his early career, he mimicked his instructor’s style, though he soon progressed to embrace his own approach to printmaking. Despite the rapid changes taking place in Japan as a result of the restoration of the Meiji emperor in 1868, Chikanobu—who was the son of a once-powerful feudal lord—remained faithful to the Tokugawa shogunate. Despite this, his prints explored many of the modern changes that came with the restoration, while simultaneously embracing the traditional elements of Japanese culture that were being forgotten in this period of cultural upheaval. His use of color on slender figures with graceful gestures made him a competitive kabuki print artist in the mid-Meiji period, and he was actively competing with artists such as Toyohara Kunichika.  

Complete Triptychs by Yōshū Chikanobu
Cherry Blossom Viewing
Depiction of an Official Hearing at Fukiage
Parading of the Mochi (Rice Cakes) 
Picture of the Japanese Imperial Line 
Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku (R) and Kinokuniya Bunzaemon (C)
Spring-Colored Garden in Snow​​​​​​​

Artist Listing​​​​​​​,” The Lavenberg Collection of Prints.
Merritt, Helen and Nanako Yamada. Guide to Modern Japanese Woodblock Prints: 1900-1975. Honolulu: University of Hawai’i Press, 1992.

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