The Demon of Oeyama, Utagawa Kuniyoshi (1797-1861); Illustration of a Poem by Koshikibu no Naishi from the series The One Hundred Poems ca 1840-42

I am offering a very rare original Japanese engraving in very good condition from 1842. The engraving is framed and has a protective glass on the front. A very rare engraving in excellent quality that is also in the possession of British Museum, Museum of Fine Arts, Boston and Mary A. Ainsworth Collection of Japanese Prints Asian. Original woodblock print - Washi paper - Demon - Utagawa Kuniyoshi (1797-1861) - 'Lady Koshikibu-no-naishi' Koshi Bu Nei - From "Hyakunin isshu no uchi" The Hundred Poets - Japan - ca 1840-42, The Demon of Oeyama; Illustration of a Poem by Koshikibu no Naishi, no. 60 from the series The One Hundred Poems.

Kuniyoshi Utagawa, Koshikibu-no-naishi, One Hundred Poems by One Hundred Poets;

Artist: Kuniyoshi Utagawa (1798-1861);

Title: Koshikibu-no-naishi;

Series: One Hundred Poems by One Hundred Poets;

Publisher: Ebisuya Shokichi;

Date: 1840-1842;

Size: Dimensions with the frame 31x43cm/ 12.2x16.9 inches, only the lithograph measures about 25.5x37.5cm/10x14.7 inches and weight with the frame 978 grams.

Original Japanese woodblock print.

Details: 'Ogura Hyakunin Isshu' is a classical Japanese anthology of one hundred Japanese waka poems by one hundred poets. The poems were a source of inspiration for many woodblock print artists who borrowed elements, places and characters from those mentioned in the verses. Very often, their interpretation would show the creativity of the artist and their ability to take inspiration from classical literature and reinterpret it for a new audience.

The Shuten-dôji was a red-skinned demon who was eventually killed by Raikô.

The poem translates:

"By Oe Mountain

The road to Ikuno

Is far away,

And I have not contemplated

Nor did he cross the heavenly bridge from him."

Kuniyoshi Utagawa: Kuniyoshi Utagawa can without a doubt be considered the master of the warrior print genre. Born in Edo (today’s Tokyo) as the son of a silk-dyer, he had first-hand experience that later influenced the rich use of colour and textile patterns in his prints. His early talent and his drawings impressed the ukiyo-e print master Toyokuni I Utagawa and he was officially admitted to his studio in 1811, becoming one of his chief pupils. He remained an apprentice until 1814, at which time he was given the name ‘Kuniyoshi’ and set out as an independent artist.

His break-through came in 1827 with the series of ‘The 108 Heroes of The Tale of Suikoden’, which is based on a Chinese novel of the same name from the 14th century. It contains tales of about 108 rebels and heroic bandits that were very popular in Japan during Kuniyoshi’s lifetime, as their strong feelings of justice resonated with the Edo public with limited freedom and under strict government laws. A series of reforms in the 1840s banned the illustration of courtesans and kabuki actors in ukiyo-e. The government-created limitations became a kind of artistic challenge which actually encouraged Kuniyoshi's creativity by forcing him to find ways to veil criticism of the government allegorically. He also played a major role in tattoo designs in woodblock prints, with many of his works still being a source of inspiration for contemporary tattoo artists. 

The warriors and heroes Kuniyoshi continuously designed were extremely popular and gave the artist the nickname of ‘Kuniyoshi of Warrior Prints’. Dynamic bodies and stern expressions were characteristic to his warriors, lending them a powerful and strong look. The commercial success of his warriors gave Kuniyoshi the freedom to explore other subjects of ukiyo-e, such as animals, birds, flowers, beautiful women, monsters and ghosts. His compositions are replete with humour and often involve witty wordplay. His most spectacular triptychs of warriors resonate even in contemporary culture, with influence in modern graphic media such as manga. His most famous designs include ‘The Ghosts of Taira Attack Yoshitsune at Daimotsu Bay’ and ‘Princess Takiyasha Summons a Skeleton Spectre to Frighten Mitsukuni’.

Kuniyoshi was an excellent teacher and had numerous pupils who continued his branch of the Utagawa school. Among the most notable were Yoshitoshi, Yoshitora, Yoshiiku, Yoshikazu, Yoshitsuya, and Yoshifuji. As they became established as independent artists, many went on to develop highly innovative styles of their own.

MORE INFORMATION: 

Print Format: Oban (Vertical);

Artist: Kuniyoshi Utagawa;

Subject: Shuten-doji with his two sons on a terrace beneath a lantern, Oeyama in the background or The Demon of Oeyama;

Dimensions: about 25.5x37.5cm/ 10x14.7 inches;

Title:

Object: Koshikibu-no-naishi (no. 60) 小式部内侍;

Series: Hyakunin isshu no uchi 百人一首之内 (One Hundred Poems by One Hundred Poets) (One Hundred Poems by One Hundred Poets);

Description: Woodblock print, oban tate-e. Shuten-doji with his two sons on a terrace beneath a lantern, Oeyama in the background.

Producer name:

Print artist: Utagawa Kuniyoshi 歌川国芳;

Published by: Ebisu;

Cultures/periods: Edo Period;

Production date: 1842 (circa);

Production place:

Published in: Edo;

Asia: Japan: Honshu: Tokyo-to: Edo;

Materials: paper;

Technique: woodblock;

Inscriptions:

Inscription type: signature;

Inscription transliteration: Ichiyusai Kuniyoshi ga;

Inscription translation: Picture by Ichiyusai Kuniyoshi;

Inscription note: artist's (in double gourd-shaped cartouche);

Inscription type: seal;

Inscription transliteration: Ebisu;

Inscription note: publisher's;

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