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Consideration of Kunichika's early works
June 20, 2022 Revised Augusy 20, 2023
Dr. Yasunobu Funakoshi
嘉永5年 Mouse year １８５２
Inoue Kazuo describes Toyohara Kunichika on page 51 of "Ukiyo-e Shiden" published in 1931. Regarding kunichika's first work, "There is a figure painting of kunichika in a part of the actor painting drawn by Toyokuni III in the 5th year of Kaei, and the seal says" 八十八 paintings of the disciple ". At that time, it seems that he did not have the name of Kunichika. " "八十八" is the real name of Kunichika. Kunichika's real name was born as Oshima yasohachi（八十八 ）. After that, he became Arakawa Yasohachi, according to Mori Gunzo's "Meiji People Night Story".
By the way, in the background of the painting of Toyokuni III in 1852, Hiroshige and many other disciples are participating. There are two patterns in how to draw on the background. First style: A famous painter like Hiroshige painted a landscape on the background of the actor's picture with a frame. There is an image of writing the artist name and co-creating it, and it gives the impression that the picture is decorated in the picture. Second style: A style in which the masters draw a supporting role in a style in which a person's image of the whole body is carefully written in a small size on the background of the picture of Toyokuni III. There is. For example, he wrote "Student Kunimaro" as his artist name. In this case, the picture is drawn in a form that complements the story of the picture. It's been 3 years since kunichika started studying, so he had no name as artist name, Since it was the third year since kunichika started studying, it is said that he did not have an Artist name yet and simply entered his real name "88". It was carefully investigated, including the possibility that it was a second-style pattern.
ToyokuniIII ＆ Hirosige ToyokuniIII ＆ Student Kunimori
Both owned by MFA,Boston
In 1852 and 1853, Master Toyokuni III drew many Kabuki actors in the "国尽倭名誉" series, and there was one that listed the actor names as a list. Sixty seven of them were stored in the Waseda University Theater Museum. The sixty seven works were drawn by the cast name, and all the backgrounds were painted by the disciples. The disciples were Sadahide, Kunisada, Kunitsuna, Kunihisa, Kunimori, etc., and Kunichika was also drawn as "門人 八十八". The title was "Takiyasha, the daughter of Masakado," and the "Aratame In" was in December of the year of the mouse. It is probably this painting that Inoue Kazuo described. The first painting of Kunichika was a painting of a soldier lying down on Princess Takiyasha. Although it is a real name that is not his name as a painting business, it is considered to be an existing debut work.
Owned by Waseda University Theater Museum
嘉永６年 Cow year １８５３
Master Toyokuni drew a Kabuki actor in the "国尽倭名誉" series. This series was published in two parts, 1852 and 1853. This "Empress Jingu" drawn by ToyokuniIII in 1853 was printed in September of the year of the wild boar. The printed matter on the table shows the cast and the names of the actors, but since it was still a year when the reform regulations of Tenpo were strict, Ukiyo-e only mentions the cast "Empress Jingu". A ball on a ding is drawn in the upper left of this picture, and it is described as students yasohachi(門人八十八). ”八十八”is Kunichika's real name, and Inoue Kazuo stated on page 51 of "Ukiyo-e Shi Den" published in 1931 that "Kunichika described it as 八十八", so this ding picture is Kunichika's. It is thought that it was drawn by kunichika. What's interesting is that in this series, the disciples drew people, but only Kunichika drew an illustration of a ball on a ding.
No other works by yasohachi who participated in Toyokuni III's work of the year have been found. Of course, I couldn't find any work named Kunichika .
Owned by Waseda University Theater Museum
安政2年 Rabbit year １８５５
Illustration related work
New Year's Eve Akebono, Writer Santou Kyouden, Yoshitsuna painting, Ichiosai, Owned by Waseda University
Regarding the issue date, the text and the last page are described as Ansei 2 (1855). Since the picture was censored (June, Rabbit) and the style of Aratame In, Kunichika painted the picture in 1855 for the illustrations in this book. Published by Benieido.
In the left corner of the figure below, kunichika drew the name of Ichiousai and the illustration on this page. After this, kunichika drew many works under the Artist Name Ichiousai Kunichika. The right side of the figure below has an illustration on the back page. He refrained from writing a picture of a basket and ornaments that collected the seven herbs of the New Year, and a place that would be overlooked if it was the pattern of the New Year's ornament. On the page on the left, he depicts a okame and a tradesman celebrating the New Year, with Ichiousai in the right corner. Since Yoshitsuna is a student of Kuniyoshi, Kunichika participates in the illustrations of Kuniyoshi's students, not his master Toyokuni III. The cover of Volume 22 was drawn by Kunisada II. This work is considered to be Kunichika's debut work in the field of illustration.
https://archive.wul.waseda.ac.jp/kosho/he13/he13_03049/he13_03049_0006/he13_03049_0006.pdf
Ukiyo-e field
"Sumidagawa Yowatashi no Zu" Kunichika, Kunichika a student of Toyokuni III
Three years after 1852, one of the earliest works currently disclosed is the masterpiece triptich's "Sumidagawa Yowatashi no Zu" National Diet Library Digital Collection. Aratame In is (June of the year of the rabbit), and there are two pictures with the name of Kunichika surrounded by "Tosidama In". On the last one, there was a description of "Kunichika, a student of Toyohara III" wrapped in "Toshidama In".
This ukiyo-e work is similar in composition to the "Wakamurasaki annual event Nouchi Minazuki (June)" printed by his teacher, Utagawa Toyokuni III, in 1847-1852. The big difference is that Toyokuni III has an elegant female on board and a well-dressed man holding a sword. Toyokuni III depicts a princess and a fashionable young samurai as a classic play, while Kunichika depicts a common woman and the Edo common people with a dashing captain. It seems that there was a starting point for Kunichika's style of painting, aiming for ukiyo-e with the common people as the main characters. Kunichika's painting is a lively painting in which the movement of the body is supple and the movement is felt, and it is depicted crossing the river on a quiet moonlit night while talking about small talk, and you can hear the voice and laughter.
The publisher of this work is Moriya Jihei, but it is known as a publisher that deals with Hokusai, Utamaro, and Hiroshige. On the other hand, the publisher of Toyokuni III is Ebisuya, which is known as a publisher that handles a lot of Toyokuni III (Kunisada). The relationship between Kunichika and Moriya Jihei will continue for some time after this.
Also, in 1852, he drew a picture on the work of Toyokuni III under his real name 88, and then Kunichika's work came out in 1855. Between 1852 and 1855, Kunichika or his work as a student Kunichika was investigated for public information. During this time, I wondered if he had the opportunity to paint his master's paintings as "Kunichika, a student of the school," like other ukiyo-e artists. In 1853, 856 paintings of Toyokuni were found by ukiyo-e search, and among them there were participating works such as Hiroshige, Student Kunimasa, and Kunitsuna, but only one of them was 88 students. In 1854, 1117 works of Toyokuni III were found, but Hiroshige, his students Kunimasa, Kunitsuna, etc. participated. There were 931 works of Toyokuni III in 1855, but only Hiroshige participated. Thus, Kunichika never participated in the painting of his master Toyokuni III under the name of Kunichika between 1852 and 1855.
Sumidagawa Yowatashi no Zu in 1855 By Kunichika & Student Kunichika of ToyokuniIII
Wakamurasaki annual event Nouchi Minazuki (June)
by Utagawa Toyokuni III, in 1847-1852.
安政3年 Dragon year １８５6
Illustration related work
"義仲勇戦録4巻" by Santei Shunba wrote Utagawa Kunichika Painted (National Diet Library Digital)
In "義仲勇戦録4巻" (owned by the National Diet Library Digital), Utagawa Kunichika carefully drew lively armored warrior paintings, fighting paintings, and landscape paintings seen from the mountains. Since both the first and second volumes were in the style of Eto Month Stamp (January, Dragon year) and Aratame Stamp, it turned out that this painting was drawn in 1856. Published by Tsutaya Kichizo in the 4th year of Ansei (1857). Utagawa Kunichika is written on the back of the first volume, Utagawa Kunichika is written on the cover of the second volume, and " Painted By Kunichika " is written on the back. Generally, the back of this cover may be drawn by another painter, but Kunichika did it himself. The author is Santei Haruma, only the cover is colored woodblock. Like Ukiyo-e, it depicts the way of drawing like the moment when Kabuki looks good and the place of fierce battle. This is a work called "Utagawa Kunichika" because Kunichika was the first to belong to the Utagawa school in the field of illustration. In the world of illustration, he called himself "Utagawa Kunichika", but in the field of ukiyo-e, Kunichika rarely called himself "Utagawa".
八犬伝 犬の草子,Vol 39th, Writer Ryutei Senka, Painter Baichourou Kunisada,
In the back of the cover “知哥画“（Chika painting）
The preface says Ansei 5 (1858), but since it is the style of Eto Month Stamp (April Tatsu) and Aratame Stamp, the illustration was drawn in 1856. Kunichika drew an illustration of a bamboo basket and a uchiwa in the figure on the right, and the signature was "知哥画”（Chika painting）. It is based on the theory that "知哥" is Kunichika. The color picture on the cover and the picture in the text were drawn by BaichourouKunisada (Kunisada II). Kunichika made his debut in the field of illustrations for the second year, and in this book he was reluctant to draw illustrations with his back as "chika". Kunisada II is a painter who later became Toyokuni IV, a Disciple of Toyokuni III, and a senior of kunichika.
Ansei５yeasr 知哥画（Chika painted）
“三世相縁の緒車” Writer Ryusutei Tanekiyo、 Painter Kunichika
(Owned by Digital Archive Fukui)
This book was released in the 4th year of Ansei in three volumes. Kunichika appears in two volumes. The two paintings include Eto Month Stamp (September Tatsu) and Aratame Stamp, so they were drawn in 1856. "Kunichika's assistance" is written on page 43 of the relevant document stored in the digital archive Fukui. It is not clear how much and what the painting described as "Auxiliary Kunichika" was drawn, but it assisted the painting of Kunisada II (former Kunimasa, later Toyokuni IV). This book was painted by Kunit suna. Kunitsuna is a disciple of Toyokuni III. Published by Tsutaya Kichizo.
Auxiliary Kunichika
https://www.library-archives.pref.fukui.lg.jp/archive/da/detail?data_id=012-2024781
安政見聞誌Ansei memoir magazine Painter Kuniyoshi,Yoshitsuna, Ichiousai Kunichika （National Diet Library Digital)）
Since the great earthquake of Ansei occurred on October 2, 1855 (November 11, 1855), Utagawa Kuniyoshi, Yoshitsuna, and Kunichika drew an illustration of the disaster in the Ansei memoir magazine (owned by the National Diet Library Digital). rice field. However, there is a theory that there was an inappropriate part in a part of the content or that permission was not obtained, but it is stated in "Kuniyoshi" P168 by Iwakiri Yuriko that there was a blame. A similar Ansei memoir was published in June 1856, and it is said that the Ansei memoir was published before the Ansei memoir in the introductory article. Therefore, it is estimated that Kuniyoshi's memoirs of Ansei were released from late 1855 to early 1856. In the first volume, Kunichika draws a picture of Kameido Tenjinbashi-dori, Yokojukken Kawasuji, and Yanagishima. It is carefully drawn, and the thick river in the center is Yokojukkengawa, which currently runs separately from Sumida Ward and Koto Ward in Tokyo. There is Tenmangu on the right, so the broken bridge is probably the one that was in the same place as the current Tenjinbashi. Ascending Yokojukkengawa to the upper left, it is described as his master "Utagawa Toyokuni" in a splendid house surrounded by a wall. At first glance, you can see that this mansion remains firmly, but if you look closely, it looks like the pillars have been destroyed. The surrounding houses are carefully depicted as being crushed by the weight of the roof tiles. In addition, since there are polite writings such as vegetable shops and fish shops, it is reminiscent of the busy state of the past, the fragility of the wooden structure that collapsed due to the earthquake, and the hardships of the people. The mansion of Toyokuni III is called Fuchouan, and his reputation as a painter is described in Yamaguchi Keizaborou's "History of Ukiyo-e", p. 136.
Painted by 一鶯齋国周 Ichiousai Kunichika
The mansion of Utagawa Toyokuni III is drawn
https://archive.wul.waseda.ac.jp/kosho/wo01/wo01_03754/wo01_03754_0001/wo01_03754_0001.pdf
四家怪談上下 鈍亭魯文作 一鶯齋画 ARC古典籍ポータルデータベース
The preface written by Dontei Robun says "Third year of Ansei, Yang Fire Dragon", so it was a work of 1856, and the reprint was Eto Month Stamp (Tatsu, April) and Aratame Stamp, so it was set to 1856. Since there is no Kunichika name on the cover, it is difficult to tell who drew the illustration, but Ichiousai's picture surname was drawn in a folding screen in the picture below, and was attached to the bran picture on other pages. He didn't use the name Kunichika. Also, the text of the story is usually filled around the illustration in a wavy manner, but in this Kusazoushi (one of the book types), the page of the text and the page of the picture are clearly separated. Perhaps because of that, he also drew the background freely on the picture page. It is a story of the so-called Yotsuya Kaidan, which is famous even in modern times, and in the corner of the picture, a ghost looks into the room like a classic ghost story. In this era, such a production had already been made. Published by Itoya Shohei.
和漢武者鏡 鈍亭魯文作 Kunichika画 （日本古典籍総合目録データベース）
Since it is Eto Month Stamp (October Dragon) and Aratame Stamp, the picture was drawn in 1856. It was pretty damaged. The appearance of the picture on the cover is not clear, but in the text, a lively warrior picture is drawn with fine lines and the appearance of the armor closely and carefully. As shown in the following picture, it is not clear whether the color on the face was added by a later person or from the first edition. Since the line drawing is slightly off, it seems that the later person colored it with a brush.
Painter Kunichika Eto・MonthStamp・AratameStamp(Dragon October)
http://base1.nijl.ac.jp/iview/FrameList.jsp?DB_ID=G0003917KTM&C_CODE=NA4-0852&PROC_TYPE=ON&SHOMEI=和漢武者鏡&REQUES
Ukiyo-e field
Undiscovered
安政4年 Snake year １８５7
Illustration related work
伊賀の仇討 鈍亭魯文作 Kunichika画 （日本古典籍総合目録データベース）
Iga's katakiuchi, Dontei Robun's work, Kunichika's painting (Japanese classic register comprehensive catalog database)
The first volume and the second volume are combined to form the first volume, and the third and fourth volumes are combined to form the second volume. The cover is decorated with nishiki-e, and Kunichika is written on the first volume cover.
The preface says "Yin Wood Goat" (1860), but the painting was drawn in 1857 because the upper and lower volumes are stamped with Eto Month Stamp (May, Hebi) and Aratame Stamp. .. Beginning with a picture of a villain rampaging, samurai and tradesmen are drawn to express the development of the story. At the end of the 4th volume, it was written as Kunichika picture and Toshidama Stamp was stamped, and in the picture it was also written as painter Utagawa Kunichika. The line drawing of the illustration is a so-called monochrome screen, so the pattern of the kimono you are wearing is carefully drawn to give it a three-dimensional effect. The expression that gives a three-dimensional effect with the pattern of the wrinkled part of the kimono is normal in the illustration, but it is a master.
『頼朝義経一代記』三亭春馬作 Kunichika（ＡＲＣ古典籍ポータルデーターベース）
"Yoshitsune Yoritomo Ichidaiki" by Santei Shunba Painted by Kunichika (ARC classic portal database)
This material is composed of three volumes, and the first volume is composed of 1 to 4, and Kunichika was in charge of the illustrations for the first volume. The first Eto MonthStamp (June, Snake) and the third Eto MonthStamp (July, Snake) were drawn in 1857. Kunihisa has illustrated the second and third volumes, but there are Eto Month Stamp (February, Rabbit) and Aratame Stamp, and it was found from the censorship style that they were drawn in 1855. I felt a sense of discomfort even though the 2nd and 3rd volumes were drawn earlier. The first volume is described as "Yoritomo Seiun's memoir" in the preface, and Yoritomo plays an active role. The second and third volumes describe the activities of Yoshitsune. In 1855, there was Kusazoushi (one of the book types), which depicts the activities of Yoshitsune, who was popular, and later Kusazoushi (Yoritomo Seiunroku), which depicts the activities of Yoritomo, was written and spelled together. It was thought that it was a book called "Yoritomo Yoshitsune Ichidai Ki" as a combined book. As is the case today, it shows that Yoshitsune was more popular than Yoritomo.
Yoritomo Seiunroku from the database, by Santei Haruma, drawn by Kunichika, 5th year of Ansei, 1858 (according to the Japanese novel chronology, owner Sankozu, Gono 39, classic book ID 2990592) is Yoritomo drawn by Kunichika. I think it's a book based only on the first part of Yoshitsune Ichidaiki, but it's unconfirmed. A very carefully written scene of a warrior fighting violently and a wide bird's-eye view of the painting were drawn. The characters begin with the appearance of Samato Yoshitomo (father of Yoshitsune Minamoto) and Mongakushounin. Yoritomo appeared as Hyoueisa Yoritomo, who became the etymology of Skedno's nickname. In addition, Hojo Munetoki, Sasaki Sadatsuna, Okabe Yajiro, Sasaki Saburo Moritsuna, etc. will appear, and the fierce battle movements of warriors wearing armor will be skillfully expressed and developed.
Front Page Part 3 p12 P22
頼光大江山入 玉塵園雪住作 Kunichika画 野田市立図書館所蔵
Yorimitsu Oeyamairi, Gyokujinen Sekka writeing, Kunichika painting, Noda City Library collection
The publisher is Shinshu Tozando. Outside the frame of the text, there are Aratame Stamp and Eto Month Stamp (Snake Year, New Year), and Eto Month Stamp and Aratame Stamp are separated, so it can be understood that it is a work of 1857. There is also a document in the database that the Moriya Jihei version of the book with the same title was published in 1859. However, this book in the Noda City Library was published by Shinshu Tozando and was about two years ago. I haven't seen the Moriya Jihei version, but I suspect that the paintings are the same and the censorship stamps are the same. I haven't seen all the pages in kind, but a mysterious spider is drawn. I can't judge from only the two pages shown here, but probably because the big spider is the main character, the person drawn in the background is like the person drawn in the distant view of the landscape painting drawn by Hiroshige and others. It's a simple expression. Looking only here, it looks like a rough work.
https://www.library-noda.jp/homepage/digilib/wako/124.html
白石物語 仮名垣魯文作 Kunichika画 一鶯斉Kunichika画 （国文学研究資料館）
Shiraishi Monogatari, Kanagaki Robun's work, Kunichika's painting, Kunichika's painting, Kunichika's painting (National Institute of Japanese Literature) Published by Moriya Jihei, Eto Month Stamp (July, Hebi) and Aratame Stamp were stamped in the first volume, and this style of Aratame Stamp is 1857. The second volume was only Aratame Stamp, but it was judged to be the same year as the first volume, and it was made into a work of 1857. On the last page of the second volume, Ichiousai Kunichika's signature and Toshidama Stamp were drawn under the signature. I get the impression that the illustrations of Kusazoushi (one of the book types) and Ukiyo-e are basically different. It is also thought that violent movements and emotional expressions must be prominent due to the need to inflate the image of the story. The 26 frames (representations on the database) were vividly depicted, such as a fierce battleground. However, I felt that there was a big difference between the 1855 Sumida River Yowatashi NoZu and this illustration. Although it was drawn with the development of the story and violent movements in mind, I felt that the actor's picture was drawn with the appearance of the stage in mind.
Ukiyo-e field
"浅草山中花くらべ" 「景色 国周」 ：The scenery was drawn by Kunichika " (National Diet Library Digital)
In May 1857, he painted the background of Kunisada II's "Asakusa Sanchuu Hana Kurabe". One of the five-sheet works of Kunisada II's "Asakusa Sanchuu Hana Kurabe" has the mark "Kunichika draws the scenery", and of course, the word "disciple" is not used. It is said that he was in charge of only the background of the painting of Kunisada II. The way to draw the cherry blossoms is the same for all five pictures, but the townspeople who appear in the background are carefully drawn for the small size of this picture. It is a work of 1857 because it is a style of Eto Month Stamp (New Year of the Snake) and Aratame Stamp. The publication was Tsujiokaya.
https://dl.ndl.go.jp/info:ndljp/pid/1305498
Imayou Genji Nouchi Tsuki (2 sheets) Museum of Fine Arts, Boston
Ukai's Night Feast (3 sheets) Waseda University Library
一鶯斉国周 花蝶楼国周 国周
Ichiousai kunichika, Kachourou kunichika, Kunichika
"Imayou Genji Nouchi Tsuki" was released in Eto Month Stamp: March 1857 (March 1857). The publication is Ueju, so Kinjudo Joshuya Shigezo. This "Imayou Genji Nouchi Tsuki" is a screen with an aspect ratio of 2: 3 that combines two large-sized sheets and carefully depicts the night when the cormorant fishing is fishing in the background, with a moving picture rather than a quiet standing atmosphere. The main character, Genji, is called "Ebichasenmage", which is brown with a shrimp-like shape, and the kimono is depicted in a blue-purple and classic appearance, but it is finished in an ukiyo-e by drawing a common person. The footwear drawn by Harunobu et al. Is generally sandals, clogs with thin teeth, or clogs with rounded fronts, but here it seems difficult to walk with square clogs. The tree in the back looks like a pine tree, but if you look closely, it looks like wisteria flowers are in bloom. Apart from the details, it expresses a fun night around the waterside with the cormorant fishing in the background. Actually, this ukiyo-e was first found at the Museum of Fine Arts, Boston, but it was exhibited as a work composed of two pieces, the center and the right. With these two, I thought the subject was clear and had a wonderful composition.
However, upon closer examination, it was actually an ukiyo-e print by Triptich. When it comes to Triptich, not only the person in the background but also the pond where the cormorant fishing is located is crushed and narrowed by the building, and the yellow and white of the wall and shoji are out of balance. I think it would be wonderful if it was an ukiyo-e that consisted only of the center and right pictures. In addition, there is a man like Genji in the back on the left, chatting with a woman. Therefore, it is undeniable that the subject is distracted. Even if many characters such as SoumaYoshikadoFuruteraNoZu are drawn, each of them is useful for the composition of the leading role and the supporting role. In Asakusa Kinryusan Ichinozu, more characters are made to appear and the picture is established without making the person the main character. Compared to these, the night party of Ukahi has a composition like two main characters, and the subject is not narrowed down. I found it even more interesting. The picture on the far left is published by "Santetsu", that is, Mikawaya Tetsugoro. In other words, it is thought that Mikawaya Tetsugoro added the left side.
Here, I find it interesting from a modern standpoint. The Museum of Fine Arts, Boston has been completed as a two-sheet painting with the title "Imayou Genji Nouchi Tsuki". It is considered to be organized as mentioned above. On the other hand, Triptich's theme, which was kept at Waseda University, was described as "Ukahi no Yoru Feast," and the theme seems to be focusing on cormorant fishing. However, the composition of Triptych's painting gives the impression that there are too many main characters and it gives a distracting impression, and the treatment of the cormorant fishing is small and it becomes a rambling picture. From another point of view, it can be thought that it is a picture that draws a lot of things and enjoys it little by little. What was the intention of Mikawaya Tetsugoro to add the picture on the left? What did Kunichika think about it?
ImayouGenjiNoUchiTsuki Published by Ueju, March, Snake
Kachourou Kunichika, Kunichika Museum of Fine Arts, Boston
Ukai's Night Feast Published by Santetsu, March, Snake
Ichiousai Kunichika, Kachourou Kunichika, Kunichika Waseda University Library Collection
Regarding the clogs drawn here, which I pointed out earlier, the clogs in this picture have wide teeth, and the samurai in the illustration of [伊賀の仇討 Iga no Katakiuchi] wore the same clogs (Net). 8/27 page). The following Ukiyo-e is a work drawn by Toyokuni III in 1852. [比企職人実八児雷也 Higashi craftsman Jitsuha Jiraiyanari] looks like a pair of clogs cut out from a single tree of the same type as Kunichika's painting, but the clogs worn by [安の平右衛門Anno Heiemon] look like clogs. The female depicted in [浅草山中花くらべAsakusa Sanchu Hanakurabe] , which was introduced earlier, looks like a pair of clogs. Since the painter intentionally draws distinct pictures, it is possible that they may be related to something such as fashion or hierarchy.
Toyokuni III 安の平右衛門 Toyokuni III 比企職人八児雷也
安政5年 Horse year １８５8
Illustration related work
かちかち山 / 鈍亭魯文 録 ; 画工Kunichika 一鶯斉Kunichika画（早稲田大学図書館）
Kachikachiyama / Writer: Dontei Robun、 Painter： Ichiousai Kunichika (Owned by Waseda University Library)
Akahon (one type of Kusazoshi) that consists of volume one and volumes two and has a cover for each volume. The publisher is Itoya fukujirou. Illustrations are often drawn on the back of the cover, but there is no picture on the back of this book. In the case of books that were rebound and stored in later years, the picture on the cover is often gone, but since the cover remains, it seems that there was no illustration on the back cover from the beginning. On the last page of Kusazoushi (one of the book types) in the first volume, Ichiousai Kunichika painting and Toshidama Stamp were pressed. Since there are Eto Month Stamp (September, horse year) and Aratame Stamp outside the text frame, the picture was drawn in 1858, and since the preface says "Ansei Tsuchinoto Hitsuji early spring", it was published in 1859. Although the illustrations are anthropomorphic animals, they are not animals with gentle faces, but rather pictures that are a little more realistic and create a unique atmosphere such as "a scary fairy tale" when viewed with modern eyes.
Painter Kunichika Painter Ichiousai Kunichika
https://archive.wul.waseda.ac.jp/kosho/he13/he13_03621/he13_03621.pdf
新増補西国奇談 第七集上下 為永春水著 国貞画 Kunichika補助 くにち画 安政4年丁巳年 国立国会図書館デジタル
Shin Saigoku Kidan Vol. 7 , Writer :Tamenaga Shunsui, Kunichika Assistance, Kunichika, Ansei 4th Year, Yin Fire Snake, National Diet Library Digital
The cover of the first volume was drawn by ToyokuniIII, and the illustrations in the text were drawn by Kunisada II. Kunichika assisted the last page in the first volume and drew an illustration of the full moon and pine in the end of the second volume. The preface states that the manuscript was written in the 4th year of Ansei (1857) and was released in the 6th year of Ansei (1859). Since both the upper and lower volumes have Eto Month Stamp (February, Uma) in the text, the picture was drawn in 1858, Uma. The publisher is Kagaya Kichibei. In the figure below, at the bottom right, there is "Kunichika assistance for half of the page on the right". Kunichika draws the illustration of the endpaper of the second volume of the seventh collection.
Assisted by Kunichika Illustrated by Kunichika
新増補西国奇談 20編. 四 - 国立国会図書館デジタルコレクション (ndl.go.jp)
「伊賀越仇討初編読切」楽亭西馬著、一鶯斎Kunichika画 （ＮＥＴ画像）
"Igagoe Kunichika First Edition One-shot" by Rakutei Nishima, by Kunichika Ichigo (NET image)
The cover was drawn by Kunichika, and the illustration was drawn by Ichiousai Kunichika. The cover is a colored woodblock print, but in the text it is a line art, a samurai and a tradesman. The preface stated that the manuscript was made in Ansei 5 (1858) and was released in 1859 in the sheep year. However, the seal that censored the painting is unknown. Therefore, the picture was written in 1858. A picture is drawn in which people wearing carefully drawn kimonos develop a lively swashbuckler.
Painter Ichiousai Kunichika Ansei 5
http://kitasan1970.livedoor.blog/archives/243239.html
教草朝顔物語八編 Kunichika画 山東京山老人作 早稲田大学図書館データベース
Kunichika story eight editions, Kunichika paintings, Yamatoyama old man's work, Waseda University library database
The first part of this series was drawn in 1848 because the censorship stamps were two Nanushi stamps and it was the first year of Kaei. Toyokuni III drew 1 to 3 illustrations. After that, 4 volumes were drawn by Yoshitora, 5 to 7 volumes were drawn by Kunisada II, and the final 8 volumes were drawn by Kunichika in 1858, the 10th year since the series began. The author is Santou Kyouzan and the publisher is Moriya Jihei. The publication list at the end says Man'en 2 years (1861), but the pictures in the text are considered to be works of 1858 because there were Eto Month Stamp (June, Uma) and Aratame Stamp. The movement of the person in the illustration is expressed naturally in a flowing manner. The illustration on the back of the cover is also drawn by Kunichika. On the last page, it is written that the illustration was drawn by Kunichika, and instead of the commonly used Toshiba Stamp, it uses a square stamp type seal with Kunichika written in a seal carving. This font is also used in the remedy picture of Toyokuni III drawn in 1864. Although not illustrated, one of the illustrations in this book depicts a thick-sliced two-tooth clog as footwear. This type of clogs was also depicted in the paintings of this year's "Tousei BijinSoroi Genji Bijin Zen" and the 1857 painting of "Imayou Genjinouchi Tsuki Ima-sama Genji Nouchitsuki".
he13_03757_0008.pdf (waseda.ac.jp)
https://archive.wul.waseda.ac.jp/kosho/he13/he13_03757/
Ukiyo-e field
虹ヶ嶽杣右ヱ門 一鶯斉国周
Nijigadake Somaemon Ichiousai Kunichika
Kunichika has published a work similar to the painting of Master Utagawa Toyokuni III. Kunichika drew "虹ヶ嶽杣右ヱ門 Nijigadake Somauemon", but in 1857 the year before, Utagawa Toyokuni III released "久留米小の川才助". This painting gives the impression that the overall composition and appearance are similar. Both of them were famous sumo wrestlers at that time. This year, Kunichika also depicts two Sekitori (high-ranking sumo wrestlers), "松ヶ喜三郎" and "鷲ヶ浜音右衛門"． The faces were different, but the composition of the standing figure was exactly the same. In 1860, Kuniaki also released "大鳴門灘右エ門" with almost the same composition design. The ukiyo-e is famously drawn in the background of Emile Zola's portrait of Emile Zola in 1868. The composition of this standing figure seems to be a standard pattern as a sumo wrestler portrait at that time, and the second generation Kuniaki draws "梅ヶ谷藤太郎" and Sadanobu draws "響矢熊十郎" with the same composition. Perhaps the disciples started by copying the master, or from another point of view, copying was a culture that was endorsed.
虹ヶ嶽杣右ヱ門 Ichiousai Kunichika Aug. 1858 Publisher Moriya Jihei
久留米小の川才助 ToyokuniIII April 1857 Publisher Yamaguchiya
松ｹ枝喜三郎 Kunichika 鷲ヶ浜音右衛門 Ichiousai Kunichika
May 1858 Publisher Moriya Jihei May 1858 Publisher Moriya Jihei
当世美人揃 一鶯斉国周（Ichiousai Kunichika） １８５８
In 1858, the movement was incorporated into the traditional beauty ukiyo-e, and the panoramic screen (aspect ratio 1: 2) gave a sense of perspective, creating a picture that captures the moment. The whole is not one theme, but it seems that the women are talking in three groups, and you can hear different conversations. It's a natural scene where the viewer of the painting passed by to the place where the chatter and noise of such women could be heard from a distance. It's not an ukiyo-e that a beautiful woman stands in, but an ukiyo-e that looks like a cutout of everyday life. For that reason, Kunichika's ukiyo-e may have been evaluated by some viewers as unsophisticated.
House year March publisher is Moriya Jihei森屋治兵衛
「浅草金龍山市之図」Kachourou Kunichika Ichiousai Kunichika Kunichika
"浅草金龍山市之図" In 1858, a classic bird's-eye view was used to depict the bustle of the city on a panoramic screen, creating a picture that would be fun for the viewer. In the spring when the cherry blossoms are in full bloom, a man who puts vegetables in a tub and puts it on his head, a man who rushes in with a loincloth, a parent and child who are watching the city from a hill, a shelf with okame faces lined up , A man carrying a luggage with a balance pole, a man carrying a tub, and stuffing in a tight line, expressing the bustle of the city in a picture story.
花蝶楼 国周 一鶯斉国周 国周
Carver彫藤 Publisher MoriyaJihei森屋治兵衛 Censorship:Horse July
養蚕 一鶯斉国周 Ichiousai Kunichika
Kunichika painted "sericulture" in 1858. He depicts a woman, but not a prostitute, but a woman who takes care of silk moths, in a kimono that looks more like cotton than silk. In this painting, he depicted a different from traditional ukiyo-e, that is, a general woman and her life, not a prostitute.
養蚕 「悪七兵衛景清・熊谷小次郎直家」
Ichiousai Kunichika Ichiousai Kunichika
Horse October Horse September Publisher:Moriya Jihei
悪七兵衛景清・熊谷小次郎直家 Ichiousai Kunichika
The work of "Evil Shichibei Kagekiyo and Kojiro Kumagai" in 1858 is a large drawing of the face, and it has already been used as the original form of the drawing method called "Meiji Okubi-e" and "Ookao-e". It was made into a work in 1858. Haruyoshi was the first to draw such a close-up picture, and then Sharaku also drew such a large-scale painting. However, until this painting by Kunichika was drawn, it was a close-up of the face, but the expression was a play glaring or deadpan style. Such a close-up picture is an expression method that conveys emotions such as intimidation, challenge, anger, surprise, and threat of the character to the viewer through the actor. It was Kunichika who drew these emotional expressions separately, and was recognized in the 1869 Gusokuya Okubi-e series.
源氏五節句之内七月七夕祭 Kunichika
The 1858 "Genji Gosekku Nouchi July Tanabata Festival" depicts the celebration of the common people's festival in their daily lives. Each of the three independent screens may be separated. Following the traditional way of drawing, he draws a picture in which the common people are the main characters, but he draws everyday life, not a story. The composition of this painting was later followed by Kunichika's disciples.
源氏五節句之内七月七夕祭り Kunichika Horse May
風流見立福づくし Kunichika Ichiousai Kunichika
It seems to be an old type of painting that follows the work of the previous era, but this is the same Uke-e that some works remain in 1861. "Uke-e" is as follows. It is said that Mt. Fuji, Fukusuke, Fukurokuju, Fuji( wisteria), etc. with "fu" in the name were drawn and presented to those who entered the auspicious area from Onmyodo. A culture that was popular in the Edo period and it was abolished in the Meiji period. A happy face is drawn with a simple brush stroke. This picture seems to be a set of two, and since there are no unnatural objects drawn on the left and right edges, the possibility of Triptych is low, but I feel that it is not strange to have another one.
It may just be kept in private collection and not open to the public.
Kunichika Ichiousai Kunichika Horse March Publisher Moriya Jihei
目一秘曲平家一類顕図 華蝶楼画
華蝶楼 Horse/September Publisher：Mikawaya Tetsugorou Carver:Komakichi
In "Fujiokaya Diary", there is a description that this ukiyo-e was arrested as a hint of the succession problem of the shogunate. The artist says ”華蝶楼Kachourou”, but does not say Kunichika. It is speculated that Kunichika drew the problem of succession from the beginning, and the artist's name was "華蝶楼”. The name "花蝶楼国周Kachourou Kunichika" is used in "浅草金龍山市之図Asakusa Kongousan Ichinozu". The facial expression is also rich, so it is recognized as a work of Kunichika. As for facial expressions, the following Soma Ryomon Kodera no Zu is also rich in facial expressions.
In Japanese, "華" and "花" have the same meaning and the same pronunciation.
華蝶楼 Horse/September Publisher：Mikawaya Tetsugorou Carver:Komakichi
相馬良門古寺之図 国周 Souma Yosikado Furudera no Zu
"Soma Ryomon Kodera no Zu" In 1858, the story is written in a picture and it is wonderful to imagine the story just by looking at it. While Shogun Taro Ryomon and his subordinate warlords are watching, when the magician Takiyashahime brings in the spells and opens them, some monsters appear with smoke. The surprised appearance of his subordinates, the glaring appearance of Ryomon, the young people making noise in the back regardless of anything, and behind Ryomon, a huge cattail that bestowed magic is staring at the room. In the back on the left, there are two women talking about something completely unrelated, and it's fun to imagine their conversation. He made an ordinary person with a rich expression appear in the world of ukiyo-e such as bijin-ga, actor painting, and landscape painting. As a result, Kunichika brought to Ukiyo-e a story in which they were talking about various things. The composition is the same as the conventional pattern, and it is drawn so that the picture is established for each of the three pieces even if they are separated. The story is known, and the picture is a picture story, a manga composed of fun pictures drawn without reality. Such a picture was drawn 100 years later in the early Showa period.
Kunichika Horse August Publisher：Moriya Jihei
安政6年 1859 Sheep year
Field of Illustration
報讐信太森 前編 一鶯斉国周画 鈍亭魯文作
報讐信太森 後編 一鶯齋国周画 仮名垣魯文作
Written by Dontei Robun, Ichiousai Kunichika Painting
The first part exists in the Akita Prefectural Library, but only information. The content of the book has not yet been confirmed. The second part is open to the public. The second part was published in 1859 because the preface says "Ansei Tsuchinoe Sheep Spring Kisaragi". The censorship stamp is sheep / May / Aratame, so it's 1859. A type of picture paper with separate text pages and picture pages. A total of 14 scenes are drawn. The facial expressions are rich, and the picture introduced next is a picture that looks like Kabuki, but the other pictures are moving, and the story unfolds with a mixture of samurai and tradesmen. Published by Nishikimorido.
https://school.nijl.ac.jp/kindai/TKGN/TKGN-00067.html#1
英雄成生功記 一鶯斉国周 鈍亭魯文作
Written by Dontei Robun Ichiousai Kunichika Painting
The year of publication is 1860 because it is described as Koshin, but since there is sheep / January / Aratame Stamp in the margin of the text, the picture was drawn in 1859. The picture introduced is a scene in which his father Kiyotada is ill and entrusts Gorosaku with an innocent child, Toramatsu. The picture conveys a serious situation with facial expressions and gestures. The publisher is Shobei Itoya.
Field of Ukiyo-e
There are many works whose classification remains questionable this year. Some actors' paintings are misclassified as 1859 works when searched by Ukiyo-e search. Only works that are dating certain to be 1859 are introduced here.
安宅の関勧進帳 国周
Ataka no Seki Kanjinchou Kunichika
The 1859 work "Ataka no Seki Solicitation Book" is Triptych. There are works by Kunichika and Toyokuni III as works with almost the same design. Comparing these two works, the paintings on the left and center of Triptych have different colors and gradations. The picture on the right has three major differences. The first point is that only the face of Togashi Sukeiemori has been completely replaced. The second point is whether or not the samurai clothes sitting around have a spider web-like pattern. The third point is that the cast name is described in the work of Toyokuni III, but in addition to the cast name, the actor names of Gonjuro, Shiwaka, and Tomoemon are listed in the frame. These three points are the big differences. Others are exactly the same, similar enough to seem to be the same woodblock. In more detail, the censorship stamps of all Toyokuni III works are Sheep / June / Aratame Stamp, and the carvers are Horikane and Koizumi Horikane. The publisher is Daikokuya Kinnosuke, and the name of Toyokuni III and the name of the carver are engraved. On the other hand, looking at Kunichika's work, Kunichika's name is engraved on the leftmost picture, but the center picture is stamped on the printed matter, and the rightmost picture is Kunichika's work, but there is no Kunichika mark. (Theatre Museum Waseda University Digital Collection & Classification). The censorship stamp is sheep / June / Aratame stamp, and the issuance is the same as Toyokuni III. However, although the carver was unknown and the publisher was Eikyudo / Yamamotoya Heikichi, who often handled the works of Toyokuni III and Kunisada, they were stamped on the printed matter. Kunichika's work did not appear to have undergone formal censorship procedures. It was a time when it was still forbidden to write cast names and actor names. It is probable that Master Toyokuni III produced only the cast name, and his disciple Kunichika made a casually written version in the upper right corner.
絵師：Kunichika 安宅の関勧進帳 演劇博物館所蔵
By Kunichika Ataka no Kanjinnchou Theatre Museum Waseda University Collection
絵師：豊国 羊年6月 安宅の関勧進帳 演劇博物館所蔵
By ToyokuniIII Ataka no Kanjinchou Theatre Museum Waseda University Collection
In 1840, he was free to draw actors in Kabuki paintings, but the following year, around 1841, the reform of Tenpo began. Reforms to ban customs and genre began, and in 1842, publishing nishiki-e of actors and geisha genres was banned (Iwakiri Yuriko "Kuniyoshi" P68). The paintings of Toyokuni III around this time were examined. Around 1859, about two of the 850 works were secretly filled with the cast name and actor name. In 1860, such descriptions increased slightly, but in 1861 most ukiyo-e prints began to clearly depict the cast and actor names. It is believed that the regulations were removed in 1861. Kunichika's Kanjinchō was published in 1859 when it was almost time to overlook the fact that the actor's name was drawn on the Kabuki painting. Master Toyokuni III keeps discipline and does not list the actor's name. Kunichika's Triptich work has Kunichika's name engraved on the left painting, with the center stamped on the print, and the painting on the far right has no author's stamp, so that it disappears into the darkness from left to right. The picture on the far right is framed and the actor's name is terrifyingly written. In a sense, the picture on the far right seems to be treated the same as Shunga. Also, I have the impression that he used the woodblock of Toyokuni III, but only the picture on the far right changes the face of Togashi Sukeiemori, and it seems that the author claims that he is not Toyokuni. Of course, the picture on the far right does not have the name of Kunichika, but it is considered to be Kunichika's work from the flow.
花盛美人揃 一鶯齋国周 国周
Hanamoribijinnsoroi
British Museum Collection 花盛美人揃 Museum number 1915,0823,0.169.7-11
It's a picture of five oiran. At first glance, the contrast seems strong, but it's because the saturation is increased due to the shrink painting process, and as a result, it looks gorgeous. The British Museum (191508230.169.7-11) says it was a work of the bird year of 1861, but the censorship stamp was a stamp in the style of sheep / April / Aratame stamp, so it was 1859. However, the possibility of 1871 cannot be denied from the information on this censorship stamp alone. Kojima Usui criticized "Ushie-e in the late Edo period" on page 245, saying, "The花盛美人揃 Hanamoribijinnsoroi drawn in April of Ansei 6 is not very good." Therefore, this painting was drawn in 1859. Since it is a shrunk picture, the continuity of the picture at the connection part is slightly lost.
The British Museum read this as the year of the monkey, but it leaves a horizontal line that doesn't make sense. The correct date is April of the year of the sheep.
In addition to this, as a work of 1859, it is detected by Ukiyo-e search, but most of them are actor pictures of "Nakamura Shikan". However, since the name was not used between 1847 and 1860, these ukiyo-e prints were judged to be works 12 years later. It was used as a basis for judging whether or not the Kabuki cast name and actor name were drawn at the same time.
万延1年 Monkey Year 1860
Field of Illustration
No works
Field of Ukiyo-e
文治四年摂州大物浦灘風之図 国周
Bunji4nen Sesshu daibutsuura nadakazenozu
Kuniyoshi's "摂州大物浦平家怨霊顕図" is based on the play "Funa Benkei" in which the ghosts scattered in the sea attack a ship rubbed by a big wave in Dannoura, but it seems to explain the whole story. Although it is drawn, Kunichika draws on the theme of the battle between people and monsters. Kunichika draws in close-up and expresses the powerful conflict with the grudge as the theme. Kuniyoshi's paintings are descriptive and represent the entire story of what happened in the past. This way of drawing Kunichika is a method of expressing by focusing on the theme. Even when he draws a picture of an actor, he does not draw a story conflict, but rather concentrates on the feelings and movements of the actor when he is fighting.
Kunichika Ichiousai Kunichika Mushunnan Kunichika
国周 一鶯齋国周 霧春庵国周
Kuniyoshi also draws 1797-1861 or 1850
今様源氏三曲遊興之図 国周
Imayou Genji Sankyoku Yuukyouno Zu Kunichika
It is a composition with a bird's-eye view, careful writing and screen composition. The paintings of the folding screen in the background and the decorations between the floors are carefully drawn. The drawn face is drawn differently from the faces of other actors' paintings so far. It is a work that seems to have been drawn with some intention.
Publisher Enshuuya Hikobei
はちかんじひさみのてこまえ 一鶯斉国周
Hachikanjihisaminotekomae Ichiousai Kunichika
Kunichika sometimes drew gorgeous Oiran paintings, such as flashy paintings. Kunichika carefully draws an eye-catching kimono pattern. This method is considered to be a drawback when drawing bijin-ga.
今様福神宝遊狂 一鶯斉国周 国周
Imayou Fukunokami Takaraasobigurui Ichiousai Kunichika
It's a fun picture of the god of good fortune spreading treasure and the children making a funs.
Kunichika Ichiousai Kunichika Kunichika
Publisher Moyiya Jihei
山王御祭礼番付 国周
Sanousairei Banzuke Kunichika
It is a venerable festival of Hie Shrine, and even nowadays many portable shrines continue to parade through the Imperial Palace, Nihonbashi, and Ginza. This picture is a ranking table that evaluates the portable shrines in each town that competed for gorgeousness.
太平記大合戦 一鶯斉国周
TaiheDaigassen Ichiousai Kunichika
It is considered to be one of the few works that Kunichika drew in search of reality. Similar to Taiheiki and Chuusingishi Adauchi in 1861,this painting was drawn in search of reality. In general, Kunichika rarely writes with such a touch on his face, so most of his works look like cartoons, but in a few ukiyo-e prints, he sometimes draws with such a touch. However, due to the limited number of paintings, it seems that he decided that it was not the style that Kunichika himself wanted to draw.
文久1年 Year of Bird 1861
Illustration related work
教草女房形気 22編 鶴亭秀賀作 国貞画 表紙一鶯斉筆 早稲田大学所蔵
Oshiegusa Nyobou Katagi 22nd by Tsurutei Shuga, Kunisada painting, cover page was painted by Ichiousai
Since the censorship stamp (April, April / Aratame) was stamped outside the text frame, it was set to 1861. Surname of Kunichika is Ichiousai. He wrote his name as Ichiousai kunichika.
In this picture, the picture surname drawn by Ichiousai is hidden by the library sticker, but you can read up to "Ichiou". Kunichika sometimes drew an illustration picture on the back cover of the book, but in this book, Ichiousai drew the cover of the combined volume of Writer Shuuga Tsurutei and Painter Kunisada II. This taste of the silhouette reflected on the shoji is wonderful to imagine in various ways.
he13_03703_0022.pdf (waseda.ac.jp)
濡衣女鳴神 9編 鶴亭秀賀著 歌川国周画
There are 10 volumes of this book, and it was released by Kinshodo with illustrations by Kunichika, Kunisada II, for a long period of time from 1856 to 1862. Nineth volumes were released in 1862 (Bunichi 2) and Kunichika drew illustrations.
Nineth volumes are in the Senshu University Library. The artist is 歌川国周Utagawa Kunichika, and the preface says "文久二年二星壬戌歳孟陬發兌", so 文久Bunkyu 2nd year is 1862, 壬戌 is 1862, and in return, "Year of the dog". It was released in 1862, but the censorship stamp was September Bird and October Bird, so the picture was drawn in 1861 the previous year. In addition, the name "一為斉国周Ichitamesai Kunichika" was used. Although not directly related to this name, Katsushika Hokusai（葛飾北斎） used the name "為一Tameichi" as "北斎改為一Hokusai Aratame Tameichi" from 1820 to 1833. This "為一Tameichi" and Kunichi's "一為Ichitame" are completely different, but they may have something to do with each other.
The illustrations are drawn, and the facial expressions and kimono patterns are still simple. However, the background of the story was widely drawn, such as birds, frogs, flowers, butterflies, pampas grass, pine trees, lanterns, the texture of wooden furniture, dishes, and landscapes. In addition, the expression of hair became finer.
Ukiyo-e field
木性の人 一鶯斉国周 東京都立図書館所蔵
Ichiousai Kunichika
Uke-e was explained in 1858, "Furyu Mitate Fukuzukushi" This picture is also Uke-e.
Bird May Publisher:YamadayaShoujirou
福人寿有卦入船 国周 東京都立図書館所蔵
Many Uke-e paintings of this year are preserved.
Bird March Publisher:Etsuka Carver Horicho
丁卯二月七日金性の人うけニ入 一鶯斉国周 国会図書館デジタル
The title is丁卯“Teikanousagi” that means 1867, but the censorship stamp is Bird/March / Aratame, so it is a work of 1861. This is an Uke-e painting, drawn in the style of the Degatari Zu established by Kiyonaga.
Bird March Publisher:Etsuka Carver:Horichou
太平記 国周 ボストン美術館所蔵
As an illustration of a book, Kunichika draws a lot of this kind, but here it is a color version. The fierceness of the conflict is transmitted in the scene where the horse is roughly manipulated and the warrior on the horse bends his body and fights fiercely.
March Publisher：Etsuka Carver:Horichou
忠臣義士仇討 国周 一鶯斉国周 一鶯国周
This painting looks like a painting that pursues reality in Kuniyoshi style. In other words, the way the arms and legs are drawn is fine, and the face is not lined, but the coloring method gives a three-dimensional effect. Kuniyoshi's paintings in the Suikoden series seem to be powerfully expressed in terms of how to attach the muscles of the arms and legs to pursue reality, but Kunichika's paintings are emotions, doubts and surprises with eyebrows, eyes, mouth and cheeks, etc. are freely expressed. Of course, a faint reddish color is put on the face to express a warm atmosphere, but there is little dark coloring to give a three-dimensional effect to the face like this picture. There are very few paintings that seek reality like this one, but this one seems to be one of them. He rarely painted this way. It is drawn in the same way as the Taiheiki Big battle of the previous year, but this way of drawing a face is suitable for paintings that are glaring at the battlefield, but not for various inner emotional expressions. Kunichika rarely did this kind of drawing.
Bird March publisher:Moriya Jihei Carver:Horichou
蛍遊び 華蝶楼国周 一鶯斉国周 TheMET ＆ 江戸東京博物館所蔵
This is a picture of Wakatono hunting fireflies. It is drawn in an everyday atmosphere rather than an elegant play scene.
Bird April Publisher:Moriya Jihei Carver:HorikoSinchou
河原崎権十郎 一鶯斎国周 東京都立図書館所蔵
This Kawarasaki Gonjuro, who later became Ichikawa Danjurou IX, was active under this name from 1852 to 1869 (Hattori Yukio, Ichikawa Danjurou generations P182). From the censorship stamp style, it can be seen from 1859 to 1871. In addition, it was after 1861 that the actor name and cast description became possible. Therefore, although it is a work from 1861 to 1869, the problem is that the Eto engraved on the censorship stamp cannot be read. Eleven on the upper left of the mark, the letters Aratame on the lower left, and the right side is completely unclear. Also, the typeface of Aratame is a novel Gothic style. The Tokyo Metropolitan Library judges that it is a work of 1861 from the Ichimura-za business chronology of the play.
Date of performance: February 7, 1861
Location: Edo / Ichimura-za box office chronology
External title: Tsuruharu Tosa's painting sheath
Casting: Soga Goro Ji-shu <1> Kawarasaki Gonjuro
Individual commentary: The censorship stamp is "Bird November Aratame?"
Nobember Publisher:Izutsuya Carver：KatadaHorichou
Toyokuni III released a work that seems to be similar to this Kunichika painting in 1860 the previous year.
In 1860, there were few examples of writing the actor name and the cast name at the same time. Until this year, Tenpo's reform regulations remained strong. Also, in many of Toyokuni III's works, this painting with a face gave a different impression. It is unlikely that the blue background just gave that impression. In addition, the censorship stamp of this picture was inverted and engraved with the characters of Monkey Year / April / Aratame.
By Toyokuni III Monkey April Carver:HorikouYanagisan
Regarding the fact that "Kunichika and Toyokuni III's paintings are similar", it is thought that their drawing methods and styles are different from their conventional drawing methods. It may simply depend on the color scheme, but I feel that the two paintings are similar in drawing.
文久２年 Dog year １８６２
Illustration Related Work
梅春霞引始 初編下 仮名垣魯文作 国周画 ＆国ちか画
Collection:近代書誌・近代画像データベース
The cover is drawn by Toyokuni III, and the name of Kunichika as a painter is written on it. The picture was drawn in 1862 because it was stamped on the first page in the form of a censorship stamp (Year of the Dog / March / Aratame). Published by Tsujiokaya Bunsuke, KinshouDo. The illustration is a two-page spread, and the pattern of the kimono and the background are carefully drawn, and the facial features are clean and you can hear the conversation of the leading role. If the illustrations in the text were written in hiragana characters, it would be believed that it was a modern manga.
国周画 Publisher:金松堂 Censorship Stamp（戌3月改）
近代書誌・近代画像データベース梅春霞引始 初編 (nijl.ac.jp)
Uchiwa-e Field
The picture of Uchiwa is also stamped like Ukiyo-e. As Ishii Kendo states, the style of censorship stamps is exactly the same as the style of stamping Nanushi, AratameStamp, and Eto / MonthStamp, but it is not a circle stamp but a peach-shaped stamp called Suhama seal.
絵風流見立て六玉川 国周画
Both paintings are stamped with the Suhama seal (Kiwame, dog), so it is a work of 1862. It is drawn with a weak and natural movement. Looking at this picture from a modern perspective, the composition is stable for two people on a 3: 4 horizontal screen. When drawing from the waist up, it feels more stable than the vertical large-format ukiyo-e screen.
国周画 CensorshipStamp（極・戌） 板元未詳
国周画 CensorshipStamp（極・戌） 板元未詳
Ukiyo-e Field
There are 92 ukiyo-e works, and the number has increased.
八百屋お七と吉三 国周画
Collection of the Museum of Fine Arts, Boston 11.41577a-b
This painting is a type that depicts the whole body, and many were still drawn this year. The scene of the stage is also drawn, reminiscent of the story of the Kabuki play.
Although it is not this picture, an interesting story such as the fact that the picture written at the request of Shimizuya, the publisher of this picture, became a big uproar appears in Iwanami Bunko "Meiji People Night Story" by Mori Tetsuzo. A picture of a folding screen butterfly and wild grass is described as "Yokusima Fujimaru Fude". It was drawn by a person who was not a disciple.
国周画 Censorship Stamp(戌年１０月改) 抑嶌藤丸筆
Publisher清水屋直次郎
菖蒲合仇討講談 中村芝翫 国周画
Collection of the Museum of Fine Arts,Boston 11.41692
This kind of composition above the waist will increase from this year. This way of drawing is to concentrate the emotions and powerful movements of the actor on the viewer. Censored stamp is (dog, May,Aratame)、so it is a work of 1862.
国周画 Censorship Stamp（戌年５月改） Publisher：井筒屋 Carver:太田彫駒
南総里見八犬伝 一鶯齋国周 寿嶋国周 国周 Tokyo Metropolitan Library Collection
It is a picture of the story of Nansou Satomi Hachiken Den, which is still well known. It is a picture that you can see the development of the story by drawing the appearance of kicking off . Many brawls are drawn on one screen. Jusima Kunichika, Ichiousai Kunichika, Kunichika are used as the surnames.
寿嶋国周画 国周画 一鶯齋国周
Censorship Stamp（戌年４月改） Publisher：井筒屋
葉うた虎の巻 国周画 Collection of the Museum of Fine Ats, Boston 00.793
Several have been released in the series. Since the story is also written, it is a work like a page of Kusazoshi.
国周画 Censorship Stamp（戌年11月改） Publisher:越嘉 Carver：駒改彫多七
春色酒中花あそび 国周画
Collection of the Museum of Fine Arts, Boston 00.1240-2
A gorgeous Genji-e. This picture is also added in the same way as Yaoya Oshichi introduced earlier. Genji's kimono has “Tanaka An Satotama Fude”. Was it a painter like a fashion designer? Instead of tattoos, it looks like a flashy picture on a kimono. Women's kimonos are also flashy with large floral patterns. The folding screen is signed with “ *i Kikujo Fude”, so it seems that this artist wrote the illustration on the folding screen. When adding to a picture in this way, there were many examples of drawing as“ a disciple Kuniteru” or already famous painters writing their names as they were. In that case, it seems that these two are also famous painters, but the details are still unknown.
All three by 国周画 Censorship Stamp(戌年4月改) Publisher：馬喰町４丁目木屋宗次郎 Carver:彫辰
Painted by 田中庵里玉筆 Painted by 坂井菊女筆
In 1862, regarding publishers and carvers related to Kunichika's work
This year, the number of ukiyo-e paintings drawn by kunichika increased sharply to 92 works. Using three databases, the Museum of Fine Arts, Boston, the ARC portal site, and the Theater Museum, the carver and the publisher found in the 1862 ukiyo-e, was examined. Many publications were made by Izutsuya 井筒屋, Etsuka 越嘉, Tsujiokaya Bunsuke 辻岡屋文助, Yamazakiya Seishichi 山崎屋清七, etc. Other than that, Otaya Takichi 太田屋多吉, Kiya Soujirou 木屋宗次郎, Yokoyama Mikiku Ichiban 横山三菊市板, Hiranoya平のや (Hiranoya Shinzo), Manzen 萬善(Manya Zentaro?), Etc. There was a logo called Tsujibun ban辻文板, but it was judged from the address that it was the same as Tsujiokaya Bunsuke. The above nine people were active in publishing Kunichika's works.
Many carvers' names appear in Kunichi's works of the year. It is probable that the carver also used many names, as kunichika mentioned the names separately from Kachourou Kunichika, Ichiousai Kunichika, and Kunichika in the Triptych painting.
There is a Triptych picture of Bando Hikosaburou, Onoe Baiko and Sawamura Tanosuke from the Theater Museum collection (access No100-8440,100-8441,100-8442). Each carver is described as "深彫平", "彫平" and "片田彫平". It is possible that the three people shared the work, but considering the continuity of the finish, it is more appropriate to think that it was carved by one person. Thinking in this way, I arranged the names of the carvers. As a result, Kunichika's works were carved by AsakuraHorichou朝倉彫長、
OhtaKomakichi太田駒吉（KomaAratameHoriTasichi駒改彫多七、HorikouKomakichi彫工駒吉、HoriOhtaKomakichi彫太田駒吉)、Horichou彫長（KatadaHorichou片田彫長、FukaboriChou深彫長、HorikoFukanaga彫工深長）、HorioyasuKokutou彫安刻刀（UemuraHoriyasu上村彫安)、Horitatsu彫辰、HoriSakae彫栄、HorikoKokin彫工小金, HoriGyu彫牛、HoriUta彫卯多、HoriHei彫平（HorikoHei彫工平、FukaboriHei深彫平）、KatadaHorihei片田彫平、Horitake Jr.二代目彫竹.
It is said that three hairs are drawn in a 1mm width in the head carving. The techniques for carving "hair" and "frayed hair" such as Fukabori Chou and Ohta Horikoma introduced below were excellent, and the level of sculptors at that time was high. From this year, Kunichi began to associate with many publishers and carvers.
Collection of Theatre Museum 101-3674
いろは 沢村田之助 国周画 Censorship Stamp(戌閏八月改)
Publisher: 辻岡屋 Carver:彫安刻刀
Collection of Theatre Museum 101-2717
八百やお七 沢村田之助 国周画 CensorshipStamp(戌10月改)
Publisher:井筒屋 彫師 Carver:深彫長
Collection of Theatre Museum 100-6379
孫七妻 お米 岩井粂三郎 国周画 Censorship Stamp(戌5月改)
Publisher: 木屋宗次郎 Carver:太田彫駒
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文久3年 Boar Year 亥年 １８６３
According to the results of the Ukiyo-e search, the number of preserved Ukiyo-e works is rapidly increasing to 279 works. That's about three times the number from 1862. His paintings were considered to be beginning to become popular.
The number of releases has increased, but there have been changes such as how to draw, changes in the genre to be drawn, ingenuity in composition, addition of disciples, use of marks other than Tosidama Stamp, and use of new painting surnames.
1) In the actor picture, the standing figure of the long shot decreased, and the close-up shot from the waist to the top increased. Genji-e was rare, but it was released continuously.
2) Many landscape paintings were drawn for the first time this year.
Landscape paintings feature humans as supporting characters. In the landscape paintings introduced here, humans are depicted as supporting characters. Kunichika only painted such landscape paintings in 1864, not before or after this year.
3) There was a demand work for the first time this year. It can be understood that his work became popular, highly evaluated and sponsored.
4) Kunichika had his disciple Otojiro participate. Otojiro is his real name, Morikawa Otojiro, a student of Kunichika, and picture surname was active in the early Meiji era as Morikawa Chikashige.
5) Gohishi Stamp and Gohishi Toshidama Stamp, which are not Toshidama Stamp, were sometimes used in the paintings of this year. This Stamp has been used from time to time since this year. The Gohishi Stamp was first used in "Water Mirror Mountain Bird Kitan First Edition", but it was quickly improved. The first was a simple rhombus, which soon became obsolete, and the Gohishi Toshidama Stamp, which used a rhombus with jagged notches, took root.
Illustration Related Works
水鏡山鳥竒譚（美津加賀見山鳥奇譚）
Mizukagami Yamadorikitan Vol.1&2
By Kakutei Shuga Utagawa Kunichika, Ichiousai Kunichika and Kunichika Painting
Collection of Waseda University Library
In this book, various names such as Utagawa Kunichika, Kunichika, and Ichiousai Kunichika were used, and Gohishi Stamp was used for the first time instead of Toshidama Stamp. Published by Tsujiokaya Bunsuke.
水鏡山鳥奇譚（Mizukagami Yamadori Kitan） was painted by Kunichika from 1 to 3 volumes, and 4 volumes were published the following year by Kuniteru. The illustrations drawn on all pages from Volume 1 to Volume 3 are drawn lively, and the movements and facial expressions that make the story understandable just by looking at the pictures are drawn. As it is called an illustration, the background that shows the whole body and the situation is drawn as seen in the material, and there is no close-up composition like drawing in ukiyo-e. On the next page of the cover of the second volume shown here, Tsurutei Shuga wrote in place of the preface, it was published in 1865 because it says the second year of the Genji era. However, the Censorship stamp in the painting was revised in September of the year of the Boar, so it was painted in 1863. Among them, the signature as a painter was 国周, Ichiousai Kunichika, and Utagawa Kunichika in the third volume. Also, Gohishi Stamp was pushed after Ichiousai Kunichika's name mentioned at the end of the first volume, but Toshidama Stamp was pushed after Ichiousai Kunichika at the end of the second volume. The Gohishi stamp has been used for the first time, but since it is not in the family crest, it is thought that it is a crest originally made by Kunichika. At the end of the third volume, it was just written as Utagawa Kunichika. This book also uses the name "美津加賀見山鳥奇譚Mitsu Kagami Yamatori Kitan", and there is a version in which the two volumes are divided into upper and lower parts, but the content and illustrations are the same.
Utagawa Kunichika painting Kunichika painting
Censorshipstamp（Boar April Aratame）
Ichiousai Kunichika painting with Gohishi Stamp
The Gohishi Stamp, which is not the Utagawa school’s Toshidama Stamp, was stamped for the first time.
https://archive.wul.waseda.ac.jp/kosho/he13/he13_03848/he13_03848_0001/he13_03848_0001.pdf
『假枕巽八景』
KarimakurasenHachikei vol.1 & Vol.2
By Kanagaki Robun Utagawa kunichika, Kunichika and Ichiousai Kunichika painting
The censorship stamp is the year of the Boar / April / Aratame, so it is a work of 1863. The publisher is Bunsuke Tsujiokaya. As an illustration of the story, "journey", "drinking party", "relaxing and chatting at home", "taking something out of the box", "uproar caused by it", "uproar" , “walking in the rain” and other scenes were vividly drawn.There is a description of Utagawa Kunichika in the upper left figure. In addition, the illustration was drawn by "Kunichika's disciple Otojiro's painting". His real name is Morikawa Otojirou and his picture surname is Morikawa Chikasige. He was active as an ukiyo-e artist. In this year, Kunichika had a disciple.
At the end of the first volume, Gohishiin was used under the signature of Ichiousai Kunichika, but at the end of the second volume, the Gohishi Toshidama Stamp, which is an improved version of Gohishiinn, was used in the lower right figure. The feature is that the rhombus is notched, which gives the image of the Utagawa school's Toshidama
Stamp.
Disciple Otojirou Utagawa Kunichika Painting
Kunichika painting Ichiousai Kunichika Painting with Gohishi Toshidama Stamp
CensorshipStamp（Boar Apri lAratame）Publisher Tsujiokaya Bunsuke
GohishiToshidamaStamp
https://dl.ndl.go.jp/info:ndljp/pid/10303467?tocOpened=1
https://kotenseki.nijl.ac.jp/biblio/100358560/viewer
義勇八犬伝
Giyuhachikenden Vol.1 by Gakutei Sadaoka Kunichika painting ARC collection
This book has the first volume and the second volume. The first part is drawn by Kunichika, and the second part is drawn by Shunga. Since the beginning of the first volume says "Rat Year, Early Spring of the Child", it seems that it was released in the spring of the rat year of 1864, but there was no censorship stamp. It was judged that the picture was drawn in 1863 because it was censored (Year of the Boar / October / Aratame) when examining the second volume. Therefore, it was thought that the first part was also painted in 1863.
Kunichika Painting Kunichika Painting
Vol.2 CensorshipStamp（Boar October Aratame）
ARC所蔵・寄託品 古典籍データベース 1024画面 (dh-jac.net)
金花七変化 くにちかえかく 一をう斎画
Kinkashichihenge Vol.14 By Kakutei Shuga Kunisada Painting & Kunichikaekaku
Ichiousai painting Collection of Waseda University Library
The figure on the left side of the following is the 14th volume, and it can be seen that the picture was drawn in 1863 from the censorship stamp (Year of Boar / May / Aratame) in the margin of the page. The page on the right said, "Kunichika draws a picture." It shows that he drew this illustration. The figure on the right shows that the picture of 1863 was drawn from the censorship stamp (Boar year / May / Aratame) in the 14th volume. On the right side of it, "Ichiousai drew this", indicating that this illustration was drawn by Ichiousai Kunichika. The whole story was illustrated by Kunisada II, who is the son of his master Toyokuni III and a senior to Kunicika.
くにちかえをかく 一をう斉画
CensorshipStamp（Boar MayAratame） CensorshipStamp（Boar May Aratame）
https://kotenseki.nijl.ac.jp/biblio/200016326/viewer/1
Uchiwa-e Field
団扇絵2枚 国周 と一桃国周
Two Uchiwa-es by Kunichika painting & Ittou Kunichika Painting Collection of the National Diet Library
This Uchiwa-e has a nice expression, so people in the Edo period would have spent a cool summer while remembering the play. For this painting, the surname Itto Kunichika （一桃国周） was used.
一桃国周画 洲濱印（極・亥） 松嶋彫政 板元未詳
Ittou Kunichika painting Suhama Stamp(Kiwame Boar) Carver:Matsusima Horimasa
Kunichika Painting SuhamaStamp(Kiwame Boar) Carver:Matsusima Horimasa
https://dl.ndl.go.jp/info:ndljp/pid/9369201
Ukiyo-e Field
Ukiyo-e search finds 279 works. The breakdown includes 164 items from the Waseda University Theater Museum, 26 items from the Tokyo Metropolitan Library, 84 items from the Museum of Fine Arts, Boston, and 10 items from the National Diet Library that are not included in the ukiyo-e search. As the number has increased, interesting and topical works will be introduced.
宅開酒宴之図 応需国周画 国周画
TakukaiShuennozu by OUJU Kunichika painting Collection of the Museum of Fine Arts, Boston 11.41571a-b
This work is considered to be the first demand work“OUJU”. It seems to be a memorial to some kind of celebration, not an actor's picture. Large sea breams are piled up and the celebration of sake is festively decorated.
OUJU Kunichika painting CensorshipStamp(Boar Feb. Aratame)
Publisher:ShimizuyaNaojirou Carver:HoriOhtaTashichi
沢村田之助、坂東彦三郎、中村翫太郎 一桃国周
Sawamura Tanosuke, Bandou Hikosaburou and Nakamura Gantarou by Ittou Kunichika
Collection of the Museum of Fine Arts, Boston11.41641a-c
The next picture is a stage picture of the full body of the actor, that is, a long shot picture.It depicts a scene in which Nakamura Kantaro tries to stop the fight between Sawamura Tanosuke and Bando Hikosaburo even though he is tied up. "Okon" played by Tanosuke seems to have been attacked when he came out of the restaurant.
Ittou Kunichika painting Ittou Kunichika Painting
Publisher: Izutsuya Carver: Horichou Publisher: Izutsuya Carver: Horichou
CensorshipStamp(BoarMayAratame) CensorshipStamp(BoarMayAratame)
河原崎権十郎、沢村田之助 国周画
Kawarasaki Gonjurou, Sawamura Tanosuke by Kunichika Painting
Collection of the Museum of Fine Arts, Boston CensorshipStamp(BoarMayAratame)
This painting depicts Kawarasaki Gonjuro and Sawamura Tanosuke as a West-up painting. The surrounding situation is not depicted, and the two are staring at each other in silence. For those who know the play, it is a picture that brings to mind a specific scene and empathizes with it. The fact that such waist-up paintings have increased means that the popularity of Kabuki is so high that more people are able to understand the contents of the drawings without having to explain the play in long shots. Around 1863, Sawamura Tanosuke and Nakamura Shikan were popular actors competing for the top spot. Tanosuke was popular for his fragile female roles. Such a gentle image is drawn.
Kunichika Painting Kunichika Painting
Publisher:Izutsuya Carver:Horichou Publisher:Izutsuya Carver:Horichou
CensorshipStamp(BoarFeb.Aratame) CensorshipStamp(BoarFeb.Aratame)
中村芝翫 国周画
Nakamura Shikan by Kunichika Painting
Collection of Waseda University Theater Museum 100.3945、100-3946
The following two paintings are from the same story, with censorship stamps in August of the same year, but released by different publishers. The first picture is a long shot where Nakamura Shikann is rampaging and the boat on which Bando Hikosaburou and others are riding is drawn in the distance to explain the situation. The second is a long shot in which the characters are drawn side by side and everyone represents one scene. Comparing this, the first piece draws a close-up of the person to emphasize the movement, and also expresses the passage of time of the story.
Kunichika Painting CensorshipStamp(BoarAug.Aratame) Publisher:Surugaya Sakujirou Carver:MatsusimaHorimasa
Kunichika Painting CensorshipStamp(BoarAug.Aratame) Publisher:Etsuka
江戸八景 洲奇晴嵐 国周画
Edohachikei by Kunichika Painting Collection of Waseda University Theater Museum500-1204
This painting has a landscape in the background. 国周 has painted the background carefully in the past, but this work also carefully depicts the distant view. At this time, the wind is strong and the paper is being blown away. A boat can be seen on the sea beyond. Although the composition is from the waist up, it is a picture with a composition that includes an explanation of the situation.
Kunichika Painting CensorshipStamp(BoarJulyAratame) Publisher:SurugayaSakujirou Carver:MatsusimaHoridai
源氏の若 近江八景 遊覧之図 一桃国周画、国周画
Genji no waka Ohmihachikei by Ittou Kunichika and Kunichika Collection of the Museum of Fine Arts, Boston 11.41641a-c
There are few Genji paintings like this one. In this painting, distant bridges, boats, and pine trees are painted in black and white in the background to emphasize the main character. The pattern of the princess's kimono is a gorgeous flower pattern, and it is beautiful enough to be admired by itself. The maid's pattern is dark in color and complements the princess's kimono. Kunichika's paintings of beautiful women aren't very well-received, but he draws gorgeous but common-minded paintings like this one. In so-called bijinga paintings, kimonos are drawn in subdued tones so that the viewer can concentrate on the woman's facial features and gestures. However, when Kunichika draws oirans and young girls, he draws flashy and gorgeous patterns such as kimono patterns. The spectators are captivated by the flashiness of the kimono and get an impression of excitement. It is not a bijin-ga that appreciates a beautiful woman. Regarding the surname of the artist, the Museum of Fine Arts, Boston lists it as "Itto Kunichika一投国周", but it can be read as "Itto Kunichika 一桃国周".
There is also 'Genji Kaikun Fujimitei Yuran no Zu', which is owned by the Theater Museum, as a Genji-e from this year.
Itto Kunichika painting Kunichika Painting Ittou Kunichika Painting
CensorshipStamp(BoarJuneAratame) Publisher:KiyaShoujirou Carver:Horikoumino
其田練廊里暁 国周 一梅国周
Sonoyukari Kuruwa no akebono by Kunichika & Ichibai Kunichika Collection of the Museum of Fine Arts, Boston 11.41861a-c
Genji picture drawn in long shot. It expresses the taste of Kamuro detaining customers on their way home from the red-light district in the morning. The two people in the center are the main characters, and the surrounding women's gazes are scattered, creating the atmosphere of the moment. A distant view is drawn on the right side of the page to give a sense of depth.
国周画 国周画 一梅国周画
Kunichika Painting Kunichika Painting Ichibai Kunichika Painting
CensorshipStamp（BoarMayAratame） Publisher:Hiyanoya Carver:HoriOhtaTashichi
風景画６作品 一鶯国周 一鶯齋国周 国周
Landscape painting 6 works by Ichiou Kunichika, Ichiousai Kunichika&Kunichika
Mainly Collection of the Museum of Fine Arts, Boston
Only this year, there are 6 landscape paintings by Kunichika.
Only six landscape paintings by Kunichika can be found, but they are all characterized by their vertical composition. These paintings by Kunichika cannot be ignored as human roles, and may not be established as landscape paintings.
Published by Isesho (Iseya Shonosuke), Etsuka (Echizenya Kaju), and Kagisho (Kagiya Shobei), all of which are based on the 53 Stations of the Tokaido. The person is drawn, but it is a part of the landscape, not the subject of the person. In his later years, he painted other than the actors on the stage, but all of them are based on people, and there are no landscape paintings like the ones introduced here. Many of his works have been left behind, but these are the only six landscape paintings. There may be landscape paintings that are still privately owned and have not been released to the public.
The first place on the journey is the Tenryu River, which Hiroshige also paints the Tenryu River, but Kunichika paints the Tenryu River with its raging currents. Diverse travelers on the ferry are drawn, conveying a happy atmosphere.
Futagawa depicts foot soldiers walking on a mountain pass. Among the six landscape paintings, this work is a masterpiece that evokes various thoughts in the viewer. Hiroshige also painted here, but he was painting the flow of the river.
The next place Kunichika visited was Toyokawa, where he could see a large shrine, perhaps Toyokawa Inari, in the mountains away from where the daimyo procession passed. This way of drawing is a way of drawing the foreground and the background, like ink paintings of the type drawn on hanging scrolls.
Next is Chiryu (present-day Chiryu City), where the procession of feudal lords advances in the distance as women beat cotton rolls to soften them. Since it is described as ArimatsunoKei, it was Chiryu known as the production area of Arimatsu Shibori, which is cotton dyed with indigo.
Next is Minakuchi-juku, a street festively fluttering with flags, where foot soldiers are chatting with women who seem to be women in the inn, and on the porch samurai are taking a break with tea served by the innkeeper. There is a sense of relief that the day ended safely.
The last one was Zezejo, a castle that protruded over Lake Biwa and was surrounded by the lake behind it.In this painting of Zeze Castle, a large stone wall can be seen in the background, and it looks vague in a color close to a black-and-white painting of a landscape in the distance.Passengers stand out, but there is no fixed protagonist, such as a showman with a monkey, a horseman, or a person who smokes. Kunichika tries to express his travels in prose. For this reason, it may not be appropriate to treat only the painting of Zeze Castle as a landscape painting.
東海道之内 双川 東海道之内 天竜川
Toukaidou no uchi Futagawa Toukaidou no uchi Tenryugawa
By Ichiou Kunichika By Ichiousai Kunichika
CensorshipStamp(BoarAprilAratame) CensorshipStamp(BoarAprilAratame)
Publisher:IseyaShounosuke Publisher:IseyaShounosuke
Carver:KatadaHorichou Carver:KatadaHorichou
東海道 水口 東海道名所之内 豊川
Toukaidou Minakuchi Toukaidou Meisho no uchi Toyokawa
Ichiousai Kunichika painting Ichiousai Kunichika painting
Publisher: Etsuka Carver:KatadaHorichou Publisher:Etsuka Carver:KatadaHorichou
CensorshipStamp(BoarAprilAratame) CensorshipStamp(BoarAprilAratame)
東海道之内 膳所城 東海道之内 池鯉鮒 有松之景
Toukaidou no uchi Zezejou Toukaidou no uchi Chiryuu Arimatsu no kei
Kunichika Painting Kunichika painting
Publisher: Kagishou Publisher: Kagishou
Carver:HoriOhtaTashichi Carver:HoriOhtaTashichi
CensorshipStamp(BoarAprilAratame) CensorshipStamp(BoarAprilAratame)
The following two works are not landscape paintings, but the subject is the daimyo procession. A long shot of the daimyo procession is drawn.
In the picture of ”鈴ヶ森行列之図Suzugamori Procession”, a large monument is drawn on the far right, which is suspected to be the subject of the painting, and it says 'Nami Abudabutsu'.In other words, the daimyo's procession passes by the Suzugamori execution ground, and the family crest of 'Bamboo Gentian' can be seen on the lord's basket.From this family crest, this procession is the lord of Shimodate. Four years later, in 1867, the lord of the domain, Ishikawa Sokan, served as the Shogunate's Wakadoshiyori and Army magistrate.
In the painting "文久３年春の都路 Miyakoji in the Spring of the 3rd year of Bunkyu," the daimyo's procession solemnly progresses over a temporary bridge on which boats are lined up. Since the family crest is not drawn, it is not possible to identify which daimyo.
鈴ヶ森行列之図 一桃国周 ボストン美術館所蔵 2009.5011.7a-c
Suzugamori gyouretsu no zu Collection of the Museum of Fine Arts, Boston2009.5011.7a-c
一桃国周画（一投国周画） 一桃国周画（一投国周画） 一桃国周画（一投国周画）
All by Ittou Kunichika Painting Publisher: Shimizuya Naojirou CensorshipStamp(BoarAprilAratame)
文久三年春の都路 東海道之内 船橋 国周画 一鶯齋国周画 ボストン美術館所蔵
Bunkyu 3 year Haru no miyakoji Toukaidou no uchi Funabashi
Collection of the Museum of Fine Arts, Boston 11.41770A-C
Kunichika Painting Ichiousai Kunichika Painting
Publisher: Izutsuya CensorshipStamp(BoarMarchAratame)
そのゆかり源氏寿古六 応需一鶯齋国周画 早稲田図書館所蔵、文庫30B0226
Sonoukari Genji Sugoroku by Ouju Ichiousai Kunichika Painting
Collection of Waseda University Library 文庫30B0226
This is a sugoroku (children’s game), but it has been censored. The censorship stamp is (Boar /October /改), so it is a work of 1863, published by Kameyudo Chikahisa. A work that combines 6 large sizes papers. The original is as large as 78 cm x 78 cm, and is combined with a large papers (26 cm x 39 cm). From this example as well, it is probable that all the paintings by the painter had been censored.
By Ouju Ichiousai Kunichika Painting CensorshipoStamp(BoarOct.Aratame)
Publisher: Kiyuudou OhmiyaHisasuke Carver:KatadaHorichou
元治元年 Rat Year 1864
Illustration Related Works
水鏡山鳥竒譚（美津加賀見山鳥奇譚）
MizukagamiyamadoriKitan Vol.2&3 By Kakutei Shuga， Ichiousai & Kunichika painting
This material was first published in 1863, and the story continued and was published the following year. The censorship stamp is (RatAprilAratame), and another page is stamped with (RatJuneAratame), so the pictures in volumes 2 and 3 were drawn in 1864. There is no picture of violent movement like a warrior picture, but it was drawn expressively.
CensorshipStamp(RatAprilAratame) Ichiousai Painting Kunichika Painting
Uchiwa-e Field
This year, seven uchiwa paintings have been preserved. All of the paintings used the surname "Kunichika Painting" surrounded by ToshidamaStamp, but there was another example where Gohishi Tosidama Stamp was used. The person drawn has a gentle face and a smiling expression typical of Kunichika. The botanical drawings of tree peony, chrysanthemum, morning glory, iris, lady's slipper, etc. in the background are carefully and realistically expressed.
Kunichika Painting Kunichika Painting
SuhamaStamp（KiwameRat） SuhamaStamp（KiwameRat）
MatsusimaHorimasa
Ukiyo-e Field
An ukiyo-e search reveals that 410 works are stored around the world. Waseda University Theater Museum has 256 works, ARC has 79 works, Tokyo Metropolitan Library has 84 works, and Museum of Fine Arts, Boston has 84 works.
Memorial painting by Ichiousai Kunichika Collection of the University of Wisconsin-Madison
Disciple Ichiousai Kunichika Painting CensorShipStamp（RatDecemberAratame） Publisher:Ebisuya Shousichi Carver:Matsushima Horimasa
This memorial picture was drawn in December of the first year of the Genji era. Here, it is necessary to explain the relationship between the Japanese calendar and the Western calendar. The Japanese calendar is the lunar calendar, and the Western calendar is related to the solar calendar, so there is a slight deviation. It was corrected using leap months in the Edo period. This memorial picture is dated December 15 Genji Gannen (December 15, 1864), but when converted to a Western calendar, it is January 12, 1865. Therefore, it is correct to say that "Toyokuni III died in 1865." However, Ukiyo-e is described as the first year of the Genji era, there is no work left by Toyokuni in 1865, and because it is considered in chronological order, Toyokuni's death is treated as 1864. This memorial picture was drawn by Kunichika, but he calls himself "his disciple Ichiousai Kunichika" and is not the Toshidama Stamp or Gohishi Toshidama Stamp, but is pushing Kunichika's seal. The Toshiba Stamp was used for memorial pictures drawn by Kunichika, such as Ichikawa Ichizo in 1865 and Sawamura Tanosuke in 1878. The same typeface as this seal is also used in 1858 Osiegusa Asagao Monogatari 8th edition（草朝顔物語）. Kawarasaki Tamatarou's in the memorial picture, Utagawa Kunichika uses the same typeface as the seal under the name of April 1867. The use of this seal was limited.
FukagawHachiman Kunichika painting
Collection of the Museum of Fine Arts, Boston11.40528
It is a picture of a standing figure, and it is a picture that imaged Fukagawa Hachiman rather than a painting of a beautiful woman. He simplified the background and placed a sparrow at his feet. It is interesting that women wear kimono and high clogs when we think about it in modern times.
Kunichika Painting CensorshipStamp(RatNobemberAratame)
Publisher:ShimayaTetsuya
双蝶色成曙FutatsuchouIronodekiaki Kunichika Painting Collection of the Museum of Fine Arts, Boston00.1246a-c
410 ukiyo-e prints from 1864 were preserved. Most of the composition is a picture of the actors from the waist up (waist-up shot), and it is a drawing style that makes you feel the lively expressions and movements, so that you can understand the story immediately. Of course, kunichika also drew a standing play picture (long shot). In the next painting featuring NakamuraShikan, SawamuraTanosuke, and IchikawaKuzou, Tanosuke dressed as a woman is about to take revenge. However, she does a good job of portraying the gestures of a fragile woman with her soft figure. This is a picture that makes her unconsciously worried and sympathetic that she can not avenge the enemy. This cannot be drawn with only the composition from the waist up.
Nakamura Shikan Sawamura Tanosuke Ichikawa Kuzou
All by Kunichika Painting Publisher:Iseya Kanekichi CensorshipStamp(RatSep.Aratame)
KinoeneSoganoDaikokubashira Kunichika Painting
Collection of the Museum of Fine Arts, Boston 11.41841a-c
This play featuring Shimobe (IchikawaKuzouIII), ToriyamaShuusaku (NakamuraShikanIV), and Princess Shiranui (Tanosuke Sawamura III) was performed at the Morita Theater. Nakamura Shikan is breathing with a composition that depicts the person from the waist up only (waist-up shot). The facial expression that Kunichika is good at is rich
Ichikawa Kuzou Nakamura Shikan Sawamura Tanosuke
All of three Kunichika Painting with Gohishi Toshidama Stamp,
CensorshipStamp(Rat Feb.Aratame), Publisher:Izutsuya Carver:KatadaHorichou
Nakamura Shikan (Ishikawa Goemon) Kunichika painting Collection of Waseda University Theater Museum101-0697
Kunichika has drawn several powerful works of one actor on a set of two sheets, and this picture seems to be the oldest of his set of two sheets works. It is a composition like modern graphic art. The sword he holds in his left hand has movement, and his right hand appears to come out of his bosom. Examples of this kind of composition include the work depicting OtaniTomoemon in 1866 and the work depicting Nakamura Shikan in 1868.
中村芝翫 Nakamura Shikan
Kunichika Painting CensorshipStamp(RatMarchAratame) Publisher:OhtayaTakichi
Toutosanjuurokei no uchi Kunichika Painting Collection of Waseda University Theater Museum500-2503
I paid attention to the background drawn there, not as Ichimura Uzaemon's actor painting. Similar to the 1863 work “Edo Hachikei”, Nihonbashi in the background and the samurai, merchants, and travelers who come and go are carefully drawn to create a sense of realism. This alone makes for a splendid landscape painting.
Ichimura Uzaemon
Kunichika Painting CensorshipStamp(RatJulyAratame) Publisher:OhmiyaHisasuke
Carver:KatadaHorichou
Sawamura Tanosuke、 Sawamura Tosshou, Nakamura Shikan Kunichika Painting
Collection of the Museum of Fine Arts, Boston 11.4173a-c
This picture is drawn as a long-shot stage picture, and the story can be read by the gestures of the characters.
There is a person who added the picture of the folding screen in this work.The signature is "音心筆" with the Gohishi Stamp, which Kunichika had begun to use, is stamped.I wonder why someone other than Kunichika stamped this GohishiStamp on Kunichika's painting.Since the Gohishi Stamp is stamped, it may be Kunichika, but in that case, it is a mystery why he bothered to add another name."音心" is now used as a girl's name.
Nakamura Shikan Sawamura Tanosuke Sawamura Tosshou
Kunichika Painting CensorshipStamp(RatJan.Aratame) Publisher:JoushuyaKinzou
Carver:HoriSennosuke
Osaidan Kunichika Painting
Collection of the National Diet Library 本別9-28 07-089
This painting is one of several that depict energetic young men. What drew attention to this was the fact that an artist other than Kunichika added a picture to the background. This painting is decorated with a frame-like object with a chrysanthemum flower drawn on it. The painter who painted the picture is signed "国音筆Kunioto Fude" and stamped with the TosidamaStamp, which means it can be read as "Utagawa Kunioto". The picture is a chrysanthemum flower that looks like it is supported by a bamboo fence. However, among the painters of the Utagawa school, a painter named Kunioto is not known. On the other hand, there is Morikawa Otojirou （守川音次郎）as Kunichika's disciple. He had illustrated Kunichika's 1863 Karimakura Tatsumi Hachikei（仮枕辰八景） as 'Kunichika's disciple Otojirō'. The same person may have called himself 国音（Kunioto）as a painter of the Utagawa school in May 1864. However, it is known that MorikawaOtojirou （守川音次郎）was active as MorikawaChikasige （守川周重）or UtagawaChikasige （歌川周重）from around 1869. Therefore, if ``Kunioto'' is Chikashige, it may fill the gap between Kunichika's disciples and the time when he became ChikaShige, but the details are still unknown.
市村羽左衛門 Ichimura Uzaemon
Kunichika Painting CensorshipStamp(RatMayAratame) Publisher:TsujiokayaBunsuke
Carver:Horimino
https://dl.ndl.go.jp/view/jpegOutput?itemId=info%3Andljp%2Fpid%2F1313325&contentNo=1&outputScale=2
Genji no kimi Ukai goyuuran Kunichika draw Ichiousai kunichika painting Collection of Waseda University Library bunko30.b0222.pdf
It seems to be a story of a prince and a princess, but the feature of Kunichika is that the pattern of the kimono is lively and it is not a picture that enjoys the moist atmosphere. He started painting a lot of actors' plays, but he still paints with nature in the background. The background is spacious and gives a sense of perspective, and the drawing is such that people blend in with the scenery. This way of drawing was taken over by the landscape drawn in the background of the person in "現時五十四情" released in 1884 (Meiji 17).
Kunichika Draw Ichiousai Kunichika painting Kunichika Draw
CensorshipStamp(RatFeb.Aratame) Publisher:KiyaSoujirou Carver:Horimino
慶應元年 Ox year 1865
Uchiwa-e fields
Ushiwakamaru and Princess Joruri Kunichika Painting
Collection of the National Diet Library
This Uchiwa-e is based on the story of the fairy tales of "Jorurihime" and "Ushiwakamaru". Jorurihime marries Ushiwakamaru, and even if Ushiwakamaru dies after that, Jorurihime is the main character of the story that Ushiwakamaru will be revived. It is a work that seems to be the second woodblock print following the Ukiyo-e in Kanjinchō in 1859. The painting of Toyokuni III was released in 1860. The publication year of Kunichika is dark on the left side and difficult to read, but it is published in 1865 because there is a description of Kiwame and the cow year. However, there are subtle differences between the two paintings. The differences are (1) the lips and black eyes of men and women are different and the facial expressions are slightly different, (2) the position of the moon is different, (3) the color of the river is different, so Kunichika's work is not in the river but in the pond. You can see, (4) Toyokuni III’s painting is the cast name and Kunichika’s painting is the actor name. In 1859, Kunichika redraws a part of the face in Ataka's Seki Kanjincho, which was drawn by Toyokuni. Even compared to that work, he came to draw a face surprisingly close to the actor's image drawn by his teacher.
Toyokuni III Painting Kunichika Painting
SuhamaStamp(KiwameMonkey)1860 SuhamaStamp(KiwameOx)1865
Carver:YokokawaHoritake Carver:MatsushimaHorimasa
Cast name: Ushiwakamaru and Princess Joruri
Actors : Nakamura Fukusuke Sawamura Tanosuke
Sawamura Otokomae Kunichika Psainting Collection of the National Diet Library
Sawamura Tanosuke is receiving a gift from a patron in the dressing room. He's happy to see what's inside, and it's nice to see him. Kunichika is skilled at expressing subtle facial expressions like this.
Kunichika Painting SuhamaStamp(KiwameOx) Carver:MatsusimaHorimasa
Ukiyo-e Field
The number of ukiyo-e searches was 633 works, and the signature of Ichiosai Kunichika was very small number, and many of the ukiyo-e were signed by Kunichika.Most of them were Kabuki-themed, medium shot paintings from the waist up. In the ukiyo-e search, two ukiyo-e works signed by Toyohara Kunichika came out this year, but the year of publication was incorrect. Other than Kabuki, there were works such as “Tosei Beauties”（JAODB）, “Kyoto Arashiyama”(Boston 00.1063-5) and “Takanawa”(JAODB).
Senritobi no koma Kunichika Draw Collection of the Museum of Fine Arts, Boston 11.41664
In order to make the main character stand out, the background is often dark and plain. However, in this picture, the background is carefully written and shaded with dots, so the actor's expression comes to the fore. In this way, there are many medium-shot work drawings that carefully draw the background and take care to bring out the main character.
Kunichika Draw CensorshipStamp(OxAug.Aratame) Publisher:Fukuda Carver:HorikouTashichi
Kawarasaki Gonjurou Kunichika Painting Collection of the Museum of Fine Arts, Boston 11.40599
One of a series of actor paintings released by Izutsuya. Several actors were drawn against the background of irises. There are 10 in this series. All received the Censor Stamp in April, and were all carved by Horisakae. Number 1 is BandoHikosaburou, Number 2 is Sawamura Tanosuke, Number 3 is Sawamura Tosshou, Number 4 is Kawarasaki Gonjurou (picture shown here), Number 5 is Nakamura Fukusuke, Number 6 is Ichimura Uzaemon, Number 7 is Bandou Mitsugorou, Number 8 is Ichikawa Kuzou, Number 9 is Nakamura Shikan, Number 10 was Iwai Shijaku. The irises drawn in this series are realistic, and are drawn in a way that is different from the botanical drawings that have been designed so far.
Kunichika Painting CensorshipStamp(OxAprilAratame) Publisher:Izutsuya
Carver:HoriSakae
SanjurokuKasou no uchi Ichimura Kakitsu Kunichika Painting Collection of the Museum of Fine Arts, Boston 11.44419
Actor picture series released by Manzen. It is unknown how many actors were drawn because there is no description of the serial number. The preserved paintings were Bandou Hikosaburou, Bandou Mitsugorou, Ichikawa Kuzou, Kawarasaki Sanshou, Ichimura Kakitsu, Ichimura Uzaemon, and Ootani Tomoemon. There are many actors who have fallen out of favor with the Izutsuya series introduced earlier. It is approved from June to August. The engraver is written as Horisakae on several pieces, but most of them are unknown. In this series, plants such as water mallow, morning glory, iris, Japanese silver grass, chrysanthemum, peonies, lilies, and reeds are drawn in the background. With a few exceptions, most of them are design expressions. Yuri is carefully drawn in this picture.
Kunichika Painting CensorshipStamp(OxAug.Aratame) Publisher:Manzen
Meuto genji nijuyochou Kunichika Painting & Oukou Baichourou Kunisada Draw
Collection of the Museum of Fine Arts, Boston 11.39090
This picture is a collaboration with Kunisada (Kunisada II). Kunisada wrote that he was willing to accept. Another painting with a similar composition is stored at the Museum of Fine Arts, Boston, but it was described as Ouju/Baichoro Kunisada's painting. Kunisada II is believed to have already established popularity, but Kunichika's popularity is rising rapidly. I'm curious as to who the "Ouju" is from.
Kunichika Painting & Kunisada Draw CensorshipStamp（OxJulyAratame）
Kyouto Arasiyama Yuran Kunichika Painting Collection of the Museum of Fine Arts, Boston 00.1063-5
Such Genji-e paintings are found once or twice a year. Unlike the actor's picture, the facial expressions of the characters are rich and it seems that each person's story can be heard.
All Kunichika painting CensorshipStamp(OxLeapMayAratame) Publisher:KiyaSoujirou
Keiou 2nd Tiger 1866 慶應2年
Kunichika only illustrated one book. The number of his ukiyo-e prints was 542, slightly less than the previous year. However, the work is carefully drawn. Also, most of his works are nam ed Kunichika, but some of his works are named Ichiousai Kunichika.
Illustration Related Field
Hanakoyomifuujibunn Vol.2 By Rougetsutei Arindo Ichiousai Kunichika Painting
the University of Tokyo
This book consists of 4 volumes, and each volume consists of 3 parts, top, middle and bottom. The authors are Rogetsutei Arindo, but also Yamayamatei Arindo, Suikyoren Arindo and Okuaya Arindo are also used. There are few illustrations, and Yoshitora draws the illustrations in the first volume. On the bottom of second volume, signed “Artist: Ichiousai Kunichika”. Other than that, the artist's name does not appear. Another point is the year in which the illustrations were drawn, but there is no censor stamp on the entire book. Until now, Kusazoshi always had a censored stamp on the drawn picture, so the year it was drawn was clear, but it is strange that this book alone does not have an aratame stamp. The censor stamp system changed in the Meiji era, but even in that case, the addresses of the publishers, etc., are listed, but this book does not include them. The work dated 1866 was determined based on the materials in the Union Catalogue Database of Japanese Texts(https://kokusho.nijl.ac.jp/).
Painter Ichiousai Kunichika No Censor Stamp Publisher:Bungyokudo
http://kokugo.l.u-tokyo.ac.jp/data/bunken.php?title=fujibumi
Ukiyoe-Field
An ukiyo-e search turned up 542 works, but only a few of them were signed by ”Ichiousai Kunichika”, and all the others used “Kunichika”. The composition was drawn with the medium shot. The expression on his face was drawn with a fixed expression such as glaring and Mie.
Kanatehon Chuusingura Kunichika Draw The Boston Museum of Fine Arts 11.34911a-c
The number of long-shot stage pictures decreases year by year, but this way of drawing can tell a lot of stories with one picture. In this painting, Kanpei thinks that the man he killed was wrong and was actually a relative, and is about to commit seppuku to atone for his sins. It turns out later that this was a mistake. Okaru sells herself for money, and the scene depicts her being placed in a basket and about to be taken away. Two stories are depicted.
Kunichika Draw CensorStamp(TigerJulyAratame) Publisher:Yamamoto Kyubei Carver:Horisakae
Sawamura Tanosuke & Inumura Daisuke & Takarai Kikaku Kunichika Draw
The Boston Museum of Fine Arts 11.4169, 11.40589, Waseda University Theater Museum 007-0417
Three works will be introduced as medium shot paintings drawn this year. The background is drawn differently. The picture depicting Sawamura Tanosuke has no background, so the viewer is left wondering what he is thinking. In the picture depicting Inumura Daikaku, the moon and wild geese are drawn in the background, so you can see Inumura making up his mind after the sun goes down. The picture of Horai Kikaku on the far right is a method of explaining situations that are not related to the protagonist's time or physical distance, such as the fact that the main character is Horai, but the background is memories. In this way, Kunichika expresses the feelings of the protagonist.
Sawamura Tanosuke Inumura Daikaku Horai Kikaku
Kunichika Draw Kunichika Draw Kunichika Draw
CensorStamp(TigerAprilAratame)
CensorStamp(TigerAprilAratame)
CensorStamp(TigerAug.Aratame)
Publisher:Izutsuya Publisher:Kinseidou Publisher:Daikin
Carver:Horisakae Carver:Katagawa Horihatsu Carver:Yokogawa Horitake
Hikuteamata Uwasano Tachibana Kunichika Draw The Boston Museum of Fine Arts11.41744a-c
Introduced as one of the few Genji-e. Tachibana is popular with many women. The expression on the face that the woman approaches expresses her feelings. An older woman is also drawn on the left hand side, indicating the degree of popularity. Such a situation is depicted in a long shot. Also, the picture of the folding screen in this picture was drawn by Chikahide. A disciple of Kunichika, he was active under the psinter's name of Ryusai Chikahide.
Kunichika Draw CensorStamp(TigerMarchAratame) Publisher:Enshuuya Hikobei
Carver:Horikou Tashichi
Sawamura Tanosuke & Nakamura Shikan Kunichika Draw The Boston Museum of Fine Arts 11.41636a-c
Since it is drawn with a medium shot, the feelings are drawn in the expressions of the two people. The man is furious, but the woman seems calm and comfortable with her feelings. In this painting, the woman's hair is an important point, and it is drawn carefully.
Kunichika Draw CensorStamp(TigerAprilAratame) Publisher:Izutsuya Carver:Horisakae
Ohtani Tomoemon Kunichika Draw The Boston Museum of Fine Arts 11.44462A-B
A masterpiece that depicts a powerful and tense situation by drawing one person on two papers to fill the screen. Kunichika used this angle of view (aspect ratio of 2:3) to eliminate useless blank spaces. As a work with a similar composition, there is a work depicting Nakamura Shikan in 1864, and it has movement, but this work feels like a kabuki form. Interestingly, both works were handled by Ohtaya Takichi as the publisher.
Kunichika Draw CensorStamp（TigerMarchAratame）Publisher:Ohtaya Takichi
