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慶應３年 1867 Rabbit year
Ukiyo-e Field
Kawarazaki Tamatarou Collection of Waseda University Theater Museum 014-0334
Kawarazaki Tamatarou's memorial painting introduced here is signed Utagawa Kunichika and stamped with Kunichika's Rakkan. Rakkan is a signature stamp that is stamped on calligraphy and painting, with the name of the artist engraved in old Chinese characters. It is unusual that it is not TosidamaStamp or GohishiTosidamaStamp, but since it is drawn as a hanging scroll design, Rakkan may have been stamped. Some remembrance paintings bear the signature of "Kunichika" and the Toshidama Stamp.
Kunichika's Rakkan is stamped on very few works.
Utagawa Kunichika Draw CensorStamp(RabbitAprilAratame) Publisher:Gusokuya
Carber:Horisakae
Toukaidou Hitome Senryou Kunichika Draw Collection of the Museum of Fine Arts, Boston 11.40552
Kou no Moronao (the villain of Kanatehon Chushingura) is depicted holding a letter in one hand and thinking about the hot spring resort. The composition of this painting is reminiscent of a landscape painting painted in 1863, consisting of foreground, middle, and background. In the same way that Kabuki actors are depicted in the foreground in a medium shot, the main characters are depicted here as well, with the travelers walking along the riverbank in the middle background and the guests of the spa in silhouette in the background. However, HiroshigeII drew the middle and distant views, as indicated by the title “Tojiba no Zu, Hiroshige”. Looking at Kunichika's landscape paintings in 1863 and “Edo Hakkei”, Kunichika had already painted this kind of background, so this collaboration was a business run by the publisher taking advantage of Kunichika's popularity. It can also be considered a strategy.
Kunichika Draw CensorStamp(RabbitFeb.Aratame) Publisher:IseyaKanekichi
Tsukiyukihana Hitome Senkin Kunichika Draw Collection of Waseda University Theater Museum 007-1425
Perhaps because the previous "Hitome Senkin" series was popular, Wakasaya Jingoro released this "Tsukiyukihana Hitome Senkin" series in autumn. The backgrounds are carefully drawn in this series as well. This work was entirely drawn by Kunichika.
Kunichika Draw CensorStamp(RabbitDec.Aratame) Publisher:WakasayaJingorou
Carver:Horitoyo
Zenaku Sanjuuni Kagami Kunichika Draw Collection of Waseda University Theater Museum 007-2211
The reason why this picture was chosen is that Kunichika's disciple Chikashige drew a picture on an uchiwa fan, and the Toshidama Stamp of the Utagawa School also affixed his signature to it. In 1863, Utagawa Kunichika drew illustrations for the book "Karimakura Tatsumi Hakkei", and he is the artist who drew illustrations under the name of "Otojirō" for part of the book. Chikasige is one of Kunichika's most successful disciples. In 1867, he began to be active as a painter of the Utagawa School as “Morikawa Chikasige”.
Kunichika Draw CensorStamp(RabbitOct.Aratame) Publisher:WakasayaJingorou
Kawarazaki Kunitarou，Ichikawa Kakitsu, Sawamura Tanosuke and others
Kunichika draw Collection of Waseda University Theater Museum 100-7696
When you look at Kunichika's actor paintings, you can see that the cheeks are thick, the chin is thin, and the eyes are slit to match each actor. Kawarazaki Kunitarou (left), Ichimura Kakitsu (middle center), and Sawamura Tanosuke (right) have almost the same face. However, in the previously introduced "Zenaku Sanjuni Kagami" and the following this paintings, each person is depicted individually, and the variations in facial expressions are even wider. The face of the girl from "Zenaku sanjuni Kagami" and the center of this set of 3 paintings, the face of the girl who lost in the battledore and had her face painted with ink (upper center), the plump face of the girl (lower center), It's clearly different from Ichimura Kakitsu's face (middle center), and each one is drawn with a rich individuality. In other words, Kunichika was skilled at drawing portraits, but since the people of Edo had a fixed aesthetic image of actors'faces, it seems that they had no choice but to draw actors' faces within that range. Kunichika was severely criticized for drawing similar actor paintings for a long time without getting tired of it, but because he was a popular painter, he may have been in a position where he was not allowed to go beyond that framework.
Kunichika Draw CensorStamp(RabbitDec.Aratame) Publisher:HiranoyaShinzou
Jinriki Tanigorou Gouketsu Saigono Zu Kunichika Draw Collection of Waseda University Theater Museum 007-1348
Kunichika has received high acclaim by arranging three large sheets and depicting an actor on them (Sugawara Mayumi, Toyohara Kunichika Research Introduction p83) . Sugawara claims to have drawn a single actor on a set of three large papers after 1877, but "Jinriki Tanigorou Gouketsu Saigo no Zu" was drawn in 1867, even before that. The Censored Stamp is "RabbitAprilAratame", so it dates from 1867. It depicts a scene in which Jinriki Tanigorou is cornered and commits suicide. In comparison to a painting with a similar story, "Okige no kumo harau asagochi" ( owned by the Tokyo Metropolitan Library, No. M348-1-8, 1878), this painting depicts the pursuers in the background and explains the situation. Therefore, it is not an expression of Jinriki's feelings, but a powerful picture of a story in which he had no choice but to commit suicide. This picture belongs to the category of narrative pictures drawn with the main character's medium shot, and is not intended only to express the main character's feelings. "Okige no kumo harau asagochi" released in 1878 takes the same composition one step further and completes the emotional expression of the main character.
Kunichika Draw CensorStamp(RabbitAprilAratame) Publisher Ohtaya Takichi
Ichinomori kujirano ooyose Kunichika draw
Collection of Waseda University Theater Museum 100-4371、100-43
Sanjuurokkasenn no uchi Kitsune Tadanobu Kunichika Draw
Collection of Waseda University Theater Museum 201-3036
Two large sheets are connected vertically to draw a person on the entire screen. The aspect ratio in this case is 1:3. Such vertical screens were drawn with pillar paintings (aspect ratio 1:6.5, 1:7.2). Shiba Kokan, Isoda Koryusai and others drew a picture of a tall beautiful woman looking through a gap. In the case of Kunichika, the aspect ratio is 1:3, which is relatively wide, so it is possible to add movement like the picture of "Kitsune Tadanobu". Kunichika used the facial expressions of the actors as the theme, added body movements that could not be expressed in the medium shot, boldly cut out parts with little movement or expression, and drew pictures that expressed the facial expressions and main movements of the actors. Regarding Carvers, the painting on the left is by Uemura Horiyasu, and the one on the right is by Hori Sakae, who often handles Kunichika's paintings. As you can see from the reputation, Uemura Horiyasu's hair carving technique is skillful. Hori Sakae is certainly fine, but Uemura's hair is not only fine, but also shaded to make it look more realistic.
Kunichika Draw Kunichika Draw
CensorStamp(RabbitJulyAratame) CensorStamp(RabbitJulyAratame)
Publisher:Daikokuya Kinnosuke/Kinjirou Publisher:Gusokuya
Carver:UemuraHoriyasu Carber:HorikouSakae
Keikofude Nanatsuiroha Kunichika Draw
Collection of Waseda University Theater Museum 100-0900、100-0899、100-1293
Akagaki Genzo (center) came triumphantly in the snow while Wakato Hansuke (right) was bewildered. Shioyama Yozaemon (left) is listening behind Akagaki Genzo. This is one of Chushingura's side stories, Shioyama is the older brother and Akagaki is the younger brother. Younger brother Akagaki will carry out the raid tomorrow, so if it ends, he will be sentenced to death. He visited his brother with the intention of drinking with him at the end of his life. However Akagaki pretended to be drunk and playful so that his raid plans would not be known, so he was thought to be just a drunkard and hated. In this painting, Akagaki comes to visit and informs his manservant of his visit. His older brother, Shioyama, is worried about his absence and is listening. Kunichika is so skillful with facial expressions that you can understand the story just by looking at his expression.
Kunichika Draw CensorStamp(RabbitAug.Aratame) Publisher:MasudayaGinjirou
Carver:HorikouYosiharu
Yorimitsuyakata Tsuchigumo Kaiinasu zu Kunichika Draw
Collection of Waseda University Theater Museum 201-0888
This painting depicts the same story scene that Kuniyoshi painted in 1847. However, Kunichika's paintings do not have the disquieting appearance of yokai that run rampant like those drawn by Kuniyoshi. Although it is a serious game of Go, the surrounding townspeople and children are treated as nuisances, and in the ceiling, unlike Kuniyoshi's youkai, humans are depicted fighting. Since this picture was drawn in 1867 (Keio 3rd year), it is thought that it depicts the social conditions of the samurai class and the common people in the midst of the Meiji Restoration.
Kunichika Draw CensorStamp(RabbitAprilAratame) Publisher:HiranoyaShinzou
Carver:HorikouChoujirou
MinamotoYorimitsukouYakataTsuchigumoYoukaiZu
Collection of the Museum of Fine Arts, Boston 11.39572a-c
Ichiyuusai Kuniyosi Painting
The Museum of Fine Arts, Boston lists it as a work of 1843.
KabenoMudagaki Kunichika Painting Collection of Waseda University Theater Museum 007-1765、007-1766
This work is similar to "Nitakaragura Kabeno Mudagaki" released by Kuniyoshi in 1848. It is interesting that the face of this actor is different from the face of normal actors drawn by Kunichika. Also, this picture is a picture of the same concept as the work released by Kuniyoshi. It seems to capture the real face of each actor. Censor stamp (Rabbit January Aratame) is stamped. The carver name can be read as "hari" in the lower left, but there is a dot on the side, so it can be read as "hori". Since there are four □ in □, it means " rice fields 田'' in paddy fields and indicates the pronunciation "ta''. In addition, by saying "seven" in kanji, it is a scribble written here as "hori ta seven". Therefore, this is understood as "Hori Ta shichi". In 1863, Ota Tashici carved the scenery of Zeze Castle and Chiryu on the Tokaido Road. Also, there is a publisher-like stamp with something like red ink, but since red ink is not stamped except for daimyo, it seems to be the stamp of the owner in later years.
Kunichika Painting with TosidamaStamp CensorStamp(RabbitJan.Aratame)
Carver:HoriTashichi
Nitakaragura Kabenomudagaki Ichiyuusai Kuniyoshi Painting
Collection of Tokyo Metropolitan Library 5714-C006-01
Five paintings from this series by Kuniyoshi remain. The censor stamp is in the style of the two Nanushi (magome and Kinugasa), so it was painted between 1847 and 1852, but it cannot be further specified by the censor stamp alone. The Tokyo Metropolitan Library said it was 1847.
Ichuyuusai Kuniyoshi Painting CensorStamp(two Nanushi,Kinugasa&Hama)
Publisher: Ibaya Senzaburou
FuwaBanzaemon Kunichika Draw Collection of Waseda University Theater Museum100-9740
Two samurai standing, glaring at each other. The standing figure is drawn with a medium shot, showing the movement behavior and facial expressions of the actor. This is the moment when two samurai clash with their precious swords as they pass each other, raising their hats and glaring at each other saying, "Who's the rude guy?" A long shot, which is a method of drawing a person small in the screen, does not produce this impact. It's wonderful to have a sense of tension in the composition without waste.
Kunichika Draw CensorStamp(RabbitOct.Aratame) Publisher:YamamuraKinzaburou
ImayouShiranamitsukusi Kunichika Draw Collection of the Museum of Fine Arts, Boston11.41696
Kunichika generally uses his eyes, mouth, and eyebrows to express his facial expressions, and rarely draws lines on a face. This painting is one of the few that expresses facial expressions by adding lines to a man's face. It's also wonderful to see the dubious shadows of the wood in the hazy background.
Kunichika Draw CensorStamp(RabbitJan.Aratame) Publisher:OgawaHansuke
Meiji 1st Dragon 1868 明治元年
This year's work comes up with 349 works in an ukiyo-e search. In 1867, the number exceeded 1,000, so it seems that the number has decreased considerably, but 349 is still a large number. The facial expressions of the actors are rich and there are many pictures that have been carefully drawn.
Ukiyo-e field
Nakamura Shikan Kunichika Draw The Boston Museum of Fine Arts11.41693
In 1869, he released Ohkao-e (Big Close-up) from Gusokuya, and skillfully depicted the facial expressions of actors. But already the year before, in 1868, he had painted this screaming, astonishing expression well. Kunichika's facial expressions are skillful, and this work is one of them.
Kunichika Draw CensorStamp(DragonFeb.Aratame) Publisher:Morimoto Junnzaburou Carver:Horikou Watanabe Eizou
ChouchidoriJuubangiri Kunichika Draw The Boston Museum of Fine Arts11.40559
The actor's face is expressed by shading. Such expressions by Kunichika can be seen in a limited number of paintings such as Taiheiki Daigassen (1860) and Chuushingishi Adauchi (1861), but the number of works is small. In other words, Kunichika rarely draws violent and powerful heroes. The background of this painting uses black and light ink to express a sense of perspective, and is a technique that makes the main character stand out. A painting using the same technique is the 1863 "Nihonbashi Bijin no Yukei".
Kunichika Draw CensorStamp(DragonJulyAratame) Publisher:Tsunoi
Carver:Horichou
Sawamura Tosshou Bandou Siuka Kunichika Draw Kunitachi College of Music Kuni80-0803
This composition depicts the battle between the three in the foreground, and the people watching in the background, but it seems that too much has been drawn on two large papers. A long shot of this scene makes it easier to understand the situation, and it gives off this noisy, chaotic feeling. If you look closely, you can see a man playing with flying butterflies, a man who apologizes for something, a strong-willed woman in the foreground quarreling, and a noisy and troubled man standing in the background. It's a fun picture.
Kunichika draw CensorStamp(DragonOct.Aratame) Publisher:Shimizuya Naojirou
ImayouShouchikubai no uchi Sono no kodakegari Kunichika draw Kunitachi College of Music11.41773a-c
Genji and his female servant go bamboo shoot hunting in the spring. In the foreground, she is happy to find a bamboo shoot, and in the background, a female servant pulls out a bamboo shoot and falls over on the bank across the river. Kunichika is good at compositing the leading role of the theme and supporting characters in the background.
Kunichika draw CensorStamp(DragonFeb.aratame) Publisher:Kiya Soujirou Carver:Hori Ohta Utakichi
Kawarazaki Gonjurou ＆ Ohtomo Tomoemon Kunichika Draw Kunitachi College of Music Kuni80-0235 ＆ Bandou Shinsui & Sawamura Tosshou Kunichika Draw Kunitachi College of Music80-0237
These two paintings have the same composition, carver, publisher, and censor stamp. However, the actors are different, and the armor and kimono patterns are different. The male actor's face is shaded and powerful, but different. Similarly, the faces of female actors are also different. It's fun to compare these two works and find out what's different.
Both Kunichika Draw CensorStamp(DragonFeb.Aratame)
Both Publisher: Tsujiokaya Bunsuke Both Carver:Horisakae
Sawamura Tanosuke,Bandou Mitsugorou,IchimuraKakitsu kunichika Draw Waseda University Theater Museum 101-3049 others
The woman in the center crosses the river by boat while smoking a cigarette. The woman to her left came to pick her up, and she dropped the smoke pipe in a bewildered look. The man is proud of himself. Each expression is drawn so richly that many stories can be told in this one picture. You can see the lights on the other side of the river in the background, therefore this must be a red-light district.
Kunichika Draw CensorStamp(DragonMarchAratame) Publisher:Kiya Soujirou
Carver:Hori Ohta Utakichi
Meiji 2nd Snake 1869 明治２年
The number of works this year was 190 works, which was even less than the previous year. He draws a picture of a moving actor, and this year he released a big close-up picture from Gusokuya. This big close-up is richly expressive and captures the expressions of surprise, suspicion, and anger in the Kabuki story played by the actors. This big close-up picture is highly rated.
Ukiyo-e field
Ichikawa Kodanji Sawamura Tanosuke Ichikawa Sadanji Kunichika draw
Waseda University Theater Museum007-2652
It is a picture that captures the entire stage in a long shot. Kuroko is behind each actor, and the program is like Ningyo Joruri. Kuroko is attached to Sawamura Tanosuke in the center, and it is a "puppet swing" performed with awkward movements. It will be a highlight that plays out the situation when a fragile woman is nervous. In addition, the musical accompaniment such as shamisen and singing is drawn behind the stage on the upper left. This style picture is said to be a Degatari Zu.
Kunichika Draw CensorStamp(SnakeFeb.Aratame) Publisher:KagayaKichiemon
Tousei sanjuuni Kunichika Draw the National Diet Library本別9-28 07-054
The pattern of the kimono is drawn carefully and finely. Regarding the bird pattern drawn on the kimono, the gradation from red to yellow and from dark blue to light blue is wonderful. The kimono is flashy, but since it is drawn with a medium shot, the woman's features stand out and are well-balanced.
Kunichika Draw CensorStamp(SnakeDec.Aratame) Publisher:Yorozuya Magobei
Carver:Horiuta
Sawamura Tanosuke Kunichika Draw The Boston Museum of Fine Arts 11.16146 ＆
Nakamura Sagisuke Kunichika Draw The Boston Museum of Fine Arts 11.16157
In 1869, Gusokuya Kahei released the masterpiece "Ohkao-e", a series of 22 paintings by Kunichika. Only two representative images are introduced here, but Ohkao-e (Big Close-up) will be introduced and discussed in a separate section. All of the pictures are drawn almost entirely from the shoulders up, and the inner emotions that the actors were trying to express are depicted with subtle facial expressions such as the eyes, eyebrows, mouth, cheek lines, and the direction of the face. Before Kunichika, the Ohkubi-e paintings were still drawn with the appearance of the hands, which played a supplementary role in explaining, but Kunichika made great efforts to express the inner state only with facial expressions. Therefore, Sugawara Mayumi states that it can be called "Ohkao-e." Sawamura Tanosuke and Nakamura Washisuke's "suspicious" appearance is wonderful.
Sawamura Tanosuke Nakamura sagisuke
Kunichika Draw Kunichika Draw
Publisher:Gusokuya Publisher:Gusokuya
CensorStamp(SnakeAprilAratame) CensorStamp(SnakeAprilAratame)
Carver:Horimasu Carver:Ohta Horimasu
Meiji 3rd Horse 1870 明治３年
There were 327 works in storage this year. It should be noted that the name "Toyohara Kunichika" was used for the first time in this year. Toyohara is said to have originated from Kunichika's master Ichiyusai Chikanobu or Toyohara Chikanobu (6)(14,p81). I still don't know what this timing means when the painter's name Toyohara was used from this year.In 1870, the name of Toyohara Kunichika was used for several works, and in 1871, about half of the works were named by Toyohara Kunichika. By 1872, Toyohara Kunichika was written in almost all his works. Today, it is known as Toyohara Kunichika, but from 1855, Ichiousai, Kunichika, or Ichiousai Kunichika were used, and Utagawa Kunichika was used in the field of illustration. The name Toyohara Kunichika was not used in the field of ukiyo-e until 1870.
Ukiyo-e field
Yuujoya Nyoubou Sawamura Tanosuke Kunichika Draw The Boston Museum of Fine Arts11.41615
Many of Kunichika's 1870 works, which have been preserved, are medium shots of actors, and there are fewer long-shots. The facial expression of the woman is also good, and the carving of the head is beautiful.
Kunichika Draw CensorStamp(HorseMayAratame) Publisher:Ohhashiya Yashichi
Carver:Takarada Reishoutou
Sawamura Tosshou Toyohara Kunichika Draw The Boston Museum of Fine Arts 11.41791a-c
In January 1870, he released his first work with "Toyohara Kunichika". Many of the works that he was thought to have called himself "Toyohara Kunichika" before this work are misreading of the censor stamp. Kunichika first called himself "Ichiousai Kunichika", later became active as "Kunichika", and this year he took the name "Toyohara Kunichika" for the first time.
Red color is used boldly in this work. Modern people think that the color saturation is too high, but the red color of this chemical dye was different from the red of the past, and was accepted by the common people of Edo as a fresh and vivid color. In the early Meiji period, chemical dyes were imported, making many colors brighter. However, in modern times, paintings that use the red color of chemical dyes are called 'red paintings' and are not appreciated as ukiyo-e(20).
Toyohara kunichika Draw CensorStamp(HorseJan.Aratame) Publisher:Iseya Kichisaburou
Yakusha juunikagetsu dodoitsu Toyohara Kunichika Kunitachi College of Music Library Kini80-0145、Kuni80-0146
This is the second work using the name of Toyohara Kunichika, and was released in February. Part of the artist's name written on the right and center paintings is hidden. The design is partially hidden and difficult to read, but can be determined.
Toyohara Kunichika Draw CensorStamp(HorseFeb.Aratame) Publisher:Oomiya Hisasuke Hisajirou
Kawarazaki Gonjurou Toyohara kunichika Draw Waseda University Theater Museum403-0138
It was released in September as the third work using the name of Toyohara Kunichika. Many works were released under this name in October.
Toyohara Kunichika Draw CensorStamp(HorseSep.Aratame) Publisher:Iseya Kanekichi
Sawamura Tosshou Kunichika Draw The Boston Museum of Fine Arts 11.44410a-c
This is a medium shot drawing of a single actor on two large papers. Compared to drawing one large paper horizontally, using two large papers reduces the aspect ratio and makes the top and bottom of the screen slightly wider. When drawing a close-up of a person, there is no space on the left and right, so it becomes more powerful. This style of drawing is similar to Kunichika's painting of Nakamura Shikan in 1864 and Ohtani Tomoemon's painting in 1866, which emphasizes the movements and facial expressions of the actors and creates a powerful picture.
Kunichika Draw CensorStamp(HorseMarchAratame) Carber:Horiuta
Publisher:い（details unknown）
Toukei sanjuuroku kaiseki Sarugakuchou Kogiku Kunichika Draw
The Boston Museum of Fine Arts11.40522
In addition to Kabuki, Kunichika's paintings are beginning to include paintings that reflect the culture of the new era, such as restaurants and geisha.
Kunichika Draw CensorStamp(HorseNobemberAratame) Publisher:Yorozuya Magoheiei
