Regarding the period from 1852 to 1870, the following was discussed: Changes in the artist’s surname before taking the name Kunichika Toyohara, Seal other than ToshidamaStamp, Ohkubi-e, Ohkao-e, compositions such as medium shots, emotional expressions, manga with exaggerations and omissions, storytellers, etc.　 The works are introduced here in chronological order.

Kaei 5th　Ox　1852　嘉永5年

Inoue Kazuo ⁽²⁾ wrote about Toyohara Kunichika on page 51 of his Ukiyo-e Shiden (Biography of Ukiyo-e Artists), published in 1931. In it, he wrote about Kunichika’s first work, “In the picture of actors painted by Toyokuni III in 1852, there is a frame picture in which Kunichika painted people. The signature says that it was painted by his disciple Yasohachi. It is thought that Kunichika did not have an artistic name at that time.” “Yasohachi” is Kunichika’s real name. Kunichika’s real name was born as Oshima Yasohachi. According to Mori Senzo’s⁽¹⁷⁾ “Meiji Jinbutsu Yawa,” he later changed his name to Arakawa Yasohachi. Hiroshige and many other disciples participated in the background of Toyokuni III’s painting in 1852. There are two styles of painting the background. First style: Famous artists such as Hiroshige painted landscapes and other things in the background of the actor picture in a frame (koma-e). In this case, the artist’s name is written on the painting, giving the impression of a collaborative work, and the impression that the painting is displayed within a painting. Second style: This style was drawn by the disciples, and is a style in which supporting characters are drawn in small, full-body figures carefully written in the background of Toyokuni III’s painting. The basis is Toyokuni III’s painting, but the participating artists are also evaluated as supporting characters. For example, Kunimaro writes his name as “Disciple Kunimaro.” In this case, the painting is added in a way that complements the narrative nature of the painting. Kunichika wrote his real name “Yasohachi” because he did not yet have an artistic name. All of Toyokuni III’s preserved and publicly exhibited ukiyo-e prints, especially those from 1852, were carefully examined, including the possibility that they were patterns of the second style. As a result, Toyokuni III, the master, drew many kabuki actors in 1852 and 1853 for the “Kunitsukusi Yamato Meiyo” series. There was a list of 68 actors and their roles in a table. This series is numbered consecutively. Waseda University Theatre Museum does not have No. 16, No. 17, and No. 32, but the other 65 works are stored. The 65 works were painted with the names of the cast of the play, and all of them had background paintings by his disciples. These disciples were Sadahide, Kunisada, Kunitsuna, Kunihisa, Kunimori, etc., and Kunichika painted a frame picture under the name of “disciple Yasohachi” among them. The title of the painting was “Masakado’s daughter Takiyasha” and the censor stamp was two Nanushi stamps (Murata and Kinugasa) and EtoMonth stamp (rat December). This is the painting that Inoue Kazuo was referring to. Kunichika’s first painting was a soldier bowing down to Takiyasha played by Segawa Kikunojo. Although it was his real name, not his artistic name, it is thought to be his debut work that still exists.

Examples of works with the names of participating artists written in them.

Kaei 6^th　Ox　1853　嘉永6年　

Toyokuni III painted kabuki actors in the “Kunitsukusi Yamato Meiyo” set. This set was published in 1852 and 1853. Toyokuni III’s “Empress Jingu” has an oval EtoMonth Stamp (Boar September) and two Nanushi Stamps, so it was painted in 1853. As it was a year when the country was still under the influence of the Tenpo Reforms, the ukiyo-e only lists the cast’s name, “Empress Jingu,” but the actor is Bando Shiuka. Empress Jingu is a strong woman who, after the Emperor was killed in battle, disguised herself as a man and led the army to conquer the Shiragi who were supporting the Kumaso. Balls are depicted on a tripod in the upper left corner of the painting, and the disciple Yasuhochi is written. The tripod was painted by Kunichika. What’s interesting is that in this set, while all his students painted figures, only Kunichika painted an illustration called Balls on a tripod. No other works by Yasohachi that participated in Toyokuni III’s work have been found that year. Of course, there were no other works in 1853 bearing the name Yasohachi or Kunichika aside from this work.

Ansei 1^st　Tiger　1854　安政元年

There was one ukiyo-e print from 1854. It is signed “Kunichika” and surrounded by the Tosidama Stamp, suggesting that he was recognized as an artist in that year, 1854.

Harunokei Hanaasobi zu Kunichika Kyoto University of the arts, Geijutsu-Kan

Cherry blossom viewing was a spring pastime for the citizens of Edo. A drinking party is about to begin behind the cherry blossom viewing curtain ⁽⁵⁶⁾. The woman in the center is thought to be the main character. She has no eyebrows and her teeth are blackened. She is likely the wife of a high-ranking samurai or a wealthy merchant. Her hair is in a Katsuyama hairstyle. Her obi is tied in a single knot, and her shigokihimo indicates that she is concerned about getting her kimono dirty while outdoors. The woman on the left has her hair in the marumage style, which suggests she is a servant. She is concerned about the dirt on the hem of her kimono. She is holding up the hem of her kimono with her shigokihimo. The two are probably discussing the upcoming party. On the right, a girl in a furisode is holding a tiered box and talking to a small child. The scene depicts a cherry blossom viewing party, but behind the cherry blossom viewing curtain, a group of men who look like laborers are already drinking and saying things like, “I thought it was a rolled omelet, but it’s yellow pickled radish.” Kunichika also painted supporting characters in his 1858 Souma Yosikado Furudera no zu, which tells the story from multiple angles.

“Ukiyo-e Search” was used to search for works published in 1854. The results showed that there are few works depicting daily life like this, such as kabuki plays, Hiroshige’s landscape paintings, and Azuma Genji. In “Tama River, Chofu” (owned by the Boston Museum of Fine Arts), Toyokuni III painted a scene of women crossing the river, and in “Plum Viewing” and “Flower Party” in “Within the Twelve Months,” he painted scenes of the daily life of geisha and courtesans. Hiroshige’s paintings are mainly landscapes, but there are some pictures of daily life with people appearing. The fact that Kunichika’s painting depicts the daily life of ordinary people and not courtesans suggests the world he would paint later. He is also an artist who paints information rather than emotion. A comparison of this with Toyokuni III’s “Juunikagetsu no uchi Umemi” from the same year reveals Kunichika’s distinctive features. In both Kunichika and Toyokuni III, the protagonist appears to be the wife of a high-ranking samurai or a wealthy merchant, and both are depicted without eyebrows and with blackened teeth. Toyokuni’s painting depicts the atmosphere of a plum blossom viewing party, but Kunichika also depicts men drinking behind the cherry blossom viewing curtain to tell a story. By including the men in the painting, it depicts a cherry blossom viewing scene for the common people.

Ansei 2nd Rabbit 1855　安政２年

In the field of illustrations, Kunichika made his debut with Ichiousai, one year after his debut with ukiyo-e. Kunichika drew his first illustrations on the inside cover of “Omisoka Akebono Soushi,” a work in which Santokyozan wrote the story and Yoshitsuna illustrated every page. Kunichika quietly wrote Ichiousai’s name so that it would not stand out. In this way, in the field of illustrations, Kunichika had begun to draw illustrations in places that were not part of the story. Although he produced wonderful ukiyo-e paintings that year, in the field of illustrations, he was only active at the level of drawing illustrations, similar to his painting of Empress Jingu in 1853. The ukiyo-e that year was the large-scale triptych “Sumidagawa Yowatashi no zu” was published.

Field of illustration

Oomisoka Akebono Zoushi volum 22^nd 大晦日曙草子, by Santou Kyouzan, Yoshitsuna painting, Ichiousai painting, 　Waseda University Library

Regarding the issue date, the text and the last page describe Ansei 2 (1855). Due to the style of EtoMonthStamp (RabbitJune) and the AratameStamp, Kunichika painted the illustrations in this book in 1855. The publisher is Koeidou. In the right corner of the figure below left, Kunichika drew the name of Ichiousai（一鶯齋）and the illustration on this page. After this, Kunichika drew many works with an artistis name called Ichiousai Kunichika. The right side of the figure below has an illustration on the back page. Kunichika refrained from writing a picture of a basket and ornaments that collected the seven spring 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 drew the figure of “Okame” and a tradesman celebrating the New Year, and wrote Ichiousai in the right corner. Since Yoshitsuna is a student of Kuniyoshi, Kunichika participates in the illustrations of Kuniyoshi’s students, not 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, a disciple of Toyokuni III Kunichika　＆　Kunichika　painting　　　　 the National Diet Library寄別7-4-2-7

His masterpiece, triptich “Sumidagawa Yowatashi no Zu” was published. There was EtoMonthStamp (RabbitJune) and AratameStamp, and there were two paintings of “Kunichika Painting” surrounded by Tosidama Stamp. On the remaining one, “Kunichika, a disciple of Toyokuni” was similarly enclosed with a Tosidama Stamp. This ukiyo-e work is similar in composition to the “Wakamurasaki Nenchugyouji no uchi Minazuki ” released 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 young lord holding a oar. Toyokuni III depicts a princess and a fashionable young lord or genji as a classic play, while Kunichika depicts a common woman and the Edo common people with a dashing captain. The so-called “Yatsushi-e” seems to have been the starting point for Kunichika’s style of ukiyo-e, in which the common people are 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 is a lively painting that conveys the sounds of conversation and laughter. The moon is reflected on the surface of the river in the middle ground, swaying in the waves. A wide field is painted on the right bank, and a sailing ship and mountains are painted in the distance. The river is painted with an expansiveness that gives the impression of connecting to the sea in the distance. The publisher of this work is Moriya Jihei, who 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.

Ansei 3rd Dragon 1856 安政３年

There are seven works related to illustrations. In Hachikenden, he has not yet drawn pictures for the main story, as in the previous year, and his name is “Chika知可”. In Sansesou en no oguruma, he wrote “Assistant Kunichika” and started to draw the story. In Ansei Kenbunshi, he finally began to insert detailed pictures. In Yotsuya Kaidan, he drew illustrations on every page and signed his name “Ichi Ousai”. Unlike ukiyo-e, he drew pictures that express large movements as the story unfolds, but compared to ukiyo-e’s “Sumidagawa Yowatashi no zu”, his work still gives a slightly awkward impression. Wakan Musha Kagami was published under Kunichika’s name, and the pictures have a sense of movement. In Yoshinaka Yusenroku, he first called himself “Utagawa Kunichika”. In this field of illustration, artists of the Utagawa school were very active, and Kunichika was a disciple of Toyokuni III, so it was natural for him to call himself “Utagawa Kunichika”. However, in the field of ukiyo-e, he rarely called himself “Utagawa Kunichika.” For this reason, in modern times, he is known as “Utagawa Kunichika” in the world of Japanese literature, and “Toyohara Kunichika” in the field of ukiyo-e. Furthermore, it was still some time before the name Toyohara Kunichika appeared in the world of ukiyo-e, and around this time he mostly used the name “Ichiousai Kunichika.” Thus, there is an impression that this year Kunichika also firmly established his foothold in the field of illustrations. In the field of ukiyo-e, he drew a frame in “Toyokuni III’s Shunsen 12ji” under the name of his disciple Kunichika.

Field of Illustration

Yoshinaka　yuusenroku “義仲勇戦録4巻” by Santei Haruma Utagawa Kunichika & Kunichika Painting (　 the National Diet Library Digital)

As Utagawa Kunichika, the whole story is carefully drawn with thin line drawings of armored warriors, fighting pictures, and landscapes seen from the mountains. This picture was painted in 1856, because both volumes 1 and 2 were in the style of EtoMonthStamp (DragonJan.) and AratameStamp. Tsutaya Kichizou published it in 1857 (Ansei 4). Utagawa Kunichika is signed on the back cover of Volume 1, “Utagawa Kunichika” is signed on the cover of Volume 2, and “Kunichika e kaku (Kunichika Drawing)” is signed on the back cover. Although the back of the cover was sometimes drawn by another artist, Kunichika drew it himself. The author is Santei Haruma, and only the cover is colored woodblock printing. Like an ukiyo-e, the scene of a fierce battle is drawn in a way that looks like the moment when a pose is decided in Kabuki. In the field of illustration, Kunichika was the first to call himself ‘Utagawa Kunichika’ because he belonged to the Utagawa school.

https://dl.ndl.go.jp/info:ndljp/pid/10301693

Hakkenden Inu no Sousi,Vol 39th, 八犬伝　犬の草紙　By Ryutei Senka, 　Baichourou Kunisada painting, In the back of the cover “Chika painting”

The preface says Ansei 5 (1858), but since it is the style of EtoMonthStamp (DragonApril) and AratameStamp, 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Chika” is Kunichika⁽¹⁸⁾. The color picture on the cover and the picture in the text were drawn by Baichourou Kunisada (Kunisada II). Kunichika made his debut in the field of illustrations two years ago, and for this book he signed as “Chika painting” and drew illustrations. Kunisada II is a painter who later became Toyokuni IV, a Disciple of Toyokuni III, and a senior of Kunichika.

he13_03414_0071.pdf (waseda.ac.jp)

Nani Ohiso Toranomakifude（題大磯虎之巻筆）　Vol3 By Ryusuitei Tanekiyo Baichourou Kunisada painting Chika painting, Chika Painting 　 Senshu University

Written by Ryusuitei Tanekiyo and illustrated by Kunisada. Koeidou Publishing.

Volumes 1 to 3 were published in 1857 (Ansei 4). The censorship of the first volume is stamped with the EtoMonthStamp(DragonApril) and the AratameStamp, so the illustration was drawn in 1856. The censor stamp for the third volume was (Dragon April). There is ” 知可画Chika painting” in the cover of the first part of the third volume, The inside cover of the second part of Volume 3 says “周画Chika’s painting”, and each page has a detailed illustration.

Yotsuya Kaidan 四家怪談上下　　By　Dontei Robun　Ichiousai　painting　ARC Classics Portal Databasre

The preface written by Robun states that it was written in 1856, as it says “3 years after the start of Ansei.” Furthermore, censor stamp is 1856, as there are EtoManthStamp (Dragon, April) and AratameStamp. Kunichika’s name does not appear on the cover, etc., so it is difficult to tell who drew the illustrations. The artistic name “Ichiousai” is written on the folding screen in the picture below, and on the fusuma picture on the other pages. He did not use the name “Kunichika” in this book. Also, it is common to see a composition in which the text of the story is filled around the illustration, but in this kusazoshi (one type of book), the text page and the picture page were clearly separated. Perhaps for that reason, he freely drew the background on the page of the picture. This story is based on the Yotsuya kaidan, which is still famous today, and in the corner of the picture, a ghost peering into the room is depicted, as is typical of today’s ghost stories. At this time, such performances had already been made. Published by Itoya Shobei.

Based on Tsuruya Nanboku’s Toukaidou Yotsuyakaidan, it was staged in 1825 at the Nakamura-za Theater as Yotsuya kaidan. The synopsis is as follows. Oiwa, the only daughter of the Tamiya family, had problems with her appearance and personality, and her marriage was delayed. Iemon was an unemployed samurai. He was adopted by the Tamiya family and married Oiwa. Iemon wants the property of the Tamiya family. However, Iemon falls in love with Kihei’s concubine. In order for Kihei to force his pregnant mistress onto Iemon, the two men kick out Oiwa. Oiwa, who went mad and disappeared, attacks the Tamiya family. In Tsuruya Nanboku’s story, Oiwa’s face becomes swollen and disfigured after being poisoned. Here too, the ghost of Oiwa, who has become disfigured, is drawn.

https://www.dh-jac.net/db1/books/results1024.php?f1=tkgBK03-0072&f12=1&-sortField1=f8&-max=1&enter=portal&lang=ja#

Sanzesou Enishino　Oguruma “三世相縁の緒車”　by Ryusutei Tanekiyo、　Kunichika Painting ( Digital Archive Fukui)

This book was released in the 4th year of Ansei in three volumes. Kunichika painted a limited part of volume two. “Kunichika’s assistance” is written on page 43 of the relevant document stored in the digital archive Fukui.　It was painted in 1856 because the paintings in Volume 2 include the EtoMonthStamp (Dragon September) and the AratameStamp. The painting says “assistant kunichika”, but it is not clear what Kunichika actually drew. The illustrations in this book were drawn by Kunitsuna. Published by Kichizo Tsutaya.

https://www.library-archives.pref.fukui.lg.jp/archive/da/detail?data_id=012-2024781

Wakan　Mushakagami　和漢武者鏡 By Dontei Robun Kunichika Painting Union Catalogue Database of Japanese Texts

Since it is EtoMonthStamp (October Tatsu) and AratameStamp, 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. The color printing is slightly off, so it seems that someone later applied the colors with a brush.

和漢武者鏡 (nijl.ac.jp)

Ansei Kenmonshi安政見聞誌　　Painter Kuniyoshi,Yoshitsuna,Ichiousai Kunichika （　 Waseda University Library ）

The Great Ansei Earthquake occurred on October 2, 1855 (November 11, 1855 on the solar calendar), causing extensive damage. Utagawa Kuniyoshi, Yoshitsuna, and Kunichika depicted the disaster in Ansei Kenmonshi. There are theories that some of the contents of this book were inappropriate, or that permission was not obtained. As a result, the magistrate’s office criticized the publication. This is described in Yuriko Iwakiri’s “Kuniyoshi”^(11,p168). A similar Ansei Kenbunroku was published in June 1856, and the introduction article states that Ansei Kenmonshi was announced before Ansei Kenbunroku. Therefore, it is presumed that Kuniyoshi’s Ansei Observatory was released between late 1855 and early 1856. Kunichika drew a map of Kameido Tenjinbashi-dori and Jukkengawa-suji Yanagishima in the first volume. It is drawn carefully, and the thick river in the center is the Yokojukken River, which currently flows between Sumida and Koto wards in Tokyo. Tenmangu Shrine is on the right, so the broken bridge must have been in the same location as the current Tenjinbashi Bridge. In the upper left corner along the Yokojikken River, a magnificent house surrounded by a wall is depicted, with the name of the master, “Utagawa Toyokuni,” written in a lively manner. At first glance, this mansion appears to be in good condition, but on closer inspection, it appears to be slightly tilted, perhaps due to damage to the pillars. It carefully depicts how the surrounding houses were crushed by the weight of the roof tiles. In addition, there are detailed descriptions of vegetable shops, fish shops, etc., which reminds us of the bustle of the past, the fragility of the wooden structure that collapsed in the earthquake, and the hardships of the people. Toyokuni III’s mansion was called Fucho-an, and his fame as an artist is described in Yamaguchi Keizaburou’s “History of Ukiyo-e”^{(19, p136)}.

https://archive.wul.waseda.ac.jp/kosho/wo01/wo01_03754/wo01_03754_0001/wo01_03754_0001.pdf

Ukiyo-e field

Kunichika was already recognized as an ukiyo-e artist, having already released wonderful paintings under the name Kunichika in 1854 and 1855 and using the TosidamaStamp, but in 1856 there was a work in which he was named Disciple Kunichika. This gives the impression that he was still subordinate to his master, and the public does not think of him as an independent artist like Hiroshige and others. If he had become independent and been recognized for his skills, it is thought that he would have simply written “Kunichika” and drawn the frame art like Hiroshige and others. For this reason, since there are no paintings after 1856 that bear the name “Disciple Kunichika,” it is thought that he became independent around this time. The “Disciple Ichiousai Kunichika” in the memorial painting of Toyokuni III from 1864 is a tribute to Toyokuni III, so the meaning is different.

Shunsen 12 ji　春撰12時　ToyokuniIII　Disciple Kunichika　　fromThe Utagawa Kunisada Project

As a frame of Toyokuni III’s painting, Kunichika has depicted a townsfolk peering at Harimise⁽⁵⁶⁾ through a lattice and has signed it “Disciple Kunichika.” Toyokuni III depicted a courtesan reading a letter she had received; it was a long letter. In the street, townsfolk are peering through the lattice, some of the men wearing headscarves. A woman also seems to be peering. In the street, a woman is talking to a timid man. A man working at a soba restaurant passes by with a tray on his head. Through his frames, Kunichika conveys the scene of a courtesan quietly reading a letter in the inner room, while many people are passing by in the street, looking at her.

Ansei 4th Snake 1857 安政４年

In the field of illustrations, works such as Revenge of Iga, Yoritomo Yoshitsune Ichidaiki, Yorimitsu Oeyamairi, and Shiraishi Monogatari were published under the name of Kunichika. He began painting on a wide range of subjects, including samurai, townspeople, and stories featuring monsters. Among the works, Shiraishi Monogatari had the impression that the paintings were rough, and I felt that the quality of the paintings was uneven. There were four works in the field of ukiyo-e. Asakusa Sanchu Hanakurabe is a painting by Toyokuni III, but it seems that he painted the background not as a disciple, but as an artist who has already been evaluated from the words of “background Kunichika”, but the content is also wonderful. Works such as Imayou Genji no uchi Tsuki depict the lives of ordinary people that Kunichika aimed for. The drawings are meticulous and the kimono is gorgeous. It is thought that Kunichika was aiming for secular paintings, not the elegant world. Regarding this painting, the Boston Museum of Fine Arts is a set of two, and the one in Waseda University Theater Museum is triptych with the addition of one with a different publication. There is no end to topics such as footwear, kimono patterns, composition, and screen composition.

Field of Illustration

Nezumikomon Harunosingata 鼠小紋東君新形 By Ryusuitei Tanekiyo KunisadaII painting Supplementary painting by Kunichika Waseda Univertsity Japanese & Chinese Classics

There are from the first volume to the third volume. Censor Stamp style is divided into EtoMonthStamp and AratameStamp. The first volume was (SnakeJan.) and AratameStamp, the second and third volumes were (SnakeFeb.) and AratameStamp. Therefore, the picture was painted in 1857. On the cover of Volume 3, Ichiousai is described. In the text, there is a character of “assistant Kunichika”. The first volume and second volume were drawn by Kunisada II, but the third volume was drawn by Kunitsuna and assisted by Kunichika.

Tokiniminnanobu Goriyaku 当南見延御利益 by Ryuusuitei Tanekiyo Baichourou Kunisada Painting　Ichiousai Kunichika painting　 the National Diet Library

EtoMonthStamp (SnakeSeptember) and AratameStamp are stamped, so it is a work of 1857. “Ichiousai Kunichika Painting” is written on the spread page at the beginning of Volume 2. This frame picture was drawn by Kunichika. The faces drawn on the left and right pages are very similar, but the one on the left is Kunisada’s. Volumes 1 and 3 were drawn by Kunisada.

https://dl.ndl.go.jp/info:ndljp/pid/10303979?tocOpened=1

Iga’s Adauchi, by Kanagaki Robun Kunichika painting Japanese classic register comprehensive catalog database

The first part and the second part are combined to form the first volume, and the third and fourth parts are combined to form the second volume. The cover is decorated with nishiki-e, and “Kunichika Painting” is written on the first volume cover. The preface says “Kinotohitsuji New Spring” (1860), but the painting was drawn in 1857 because the upper and lower volumes are stamped with EtoMonthStamp (SnakeMay) and AratameStamp. Beginning with a picture of a villain rampaging, samurai and tradesmen are drawn to express the development of the story. The facial expressions of the characters are drawn richly, and the backgrounds of the rooms are also carefully drawn. Although not shown here, the paintings give a clear picture of the story, such as a samurai pleading with his lord, the samurai on either side of him with confused expressions, and a page boy listening in on what is going on. At the end of the 4th volume, it was written as Kunichika painting and Toshidama Stamp was stamped, and in the picture it was also written as painter Utagawa Kunichika. The illustrations are drawn using only lines, so the patterns on the kimonos the characters are wearing are carefully drawn to give them a sense of three-dimensionality. The careful depiction of the patterns on the twisted parts of the kimono to create a sense of three-dimensionality is common in illustrations, but this is a masterful work.

　伊賀の仇討 (nijl.ac.jp)

YoritomoYoshitsune Ichidaiki 頼朝義経一代記　By　Santei Haruma　Kunichika Painting（ＡＲＣ古典籍ポータルデーターベース）

This material consists of 3 volumes, the first volume consists of 1 to 4 parts, and Kunichika was in charge of the illustrations for the first volume. The first part is EtoMonthStamp (Snake June) and the third part is EtoMonthStamp (Snake July), so it was drawn in 1857. 　Part 2 and 3 were illustrated by Kunihisa and stamped with EtoMonthStamp (RabbitFebruary) and AratameStamp. It was painted in 1855 due to its censorship style. I felt a sense of incongruity even though the 2nd and 3rd episodes were drawn first. Volume 1 is described as “Yoritomo Seiunki” in the preface, and Yoritomo plays the leading role. The 2nd and 3rd stories depict Yoshitsune’s activities. This suggests that in 1855 there was a popular kusazoshi book depicting the exploits of Yoshitsune, and later another kusazoshi book depicting the exploits of Yoritomo (Yoritomo Seiunroku) was written, and these were bound together into a book called “Yoritomo Yoshitsune Ichibi-ki.” This shows that, as is the case today, Yoshitsune was more popular than Yoritomo. There were scenes of warriors fighting violently with their armor drawn quite carefully, as well as pictures that were drawn from a wide perspective. Many of the facial expressions are drawn at the moment when power is applied, and there is little variety in facial expressions, and it is drawn as a heroic story. The characters are Samato Yoshitomo (Yoritomo and Yoshitsune’s father), and the story begins with the appearance of “Mongakushounin”. Yoritomo appeared as “Hyoeisa Yoritomo”. In addition, Hojo Munetoki, Sasaki Sadatsuna, Okabe Yajirou, Sasaki Saburo Moritsuna, and others appear, and the fierce battle movements of warriors in armor are skillfully expressed and developed.　

“Yoritomo Seiunroku, Santei Haruma’s work, Ansei 5 year, 1858” that appears in the database is thought to be a book based on only the first volume of “Yoritomo Yoshitsune Ichidaiki” drawn by Kunichika, but this is unconfirmed.

https://www.dh-jac.net/db1/books-e/results1280.php?f1=＊＊＊＊M0436&f12=1&enter=portal&max=1&skip=10&enter=portal

Hokusetsu Bidan Jidaikagami　北雪美談　時代加々見　By Tamenaga Shunsui　　Kunisada Painting Assistant:Kunichika　 New Japanese Classical Books Comprehensive Database

This story was written over a long period of time, from the first story (1854) to the 32nd story (1863). Ichiousai’s name was mentioned in Chapter 12. The EtoMonthStamp (SnakeApril) and the AratameStamp were stamped on it, so it was judged to be 1857 from the style. The words “Ichiousai Painting” can be read on the picture screen in this edition. A picture of a bamboo grove is drawn, but it is a picture of Kunichika. This book had no color and all pictures were carefully drawn by Kunisada.

https://kotenseki.nijl.ac.jp/biblio/200006188/viewer/1

Yorimitsu Ooeyamairi By Gyokujinen Setsuju Kunichika painting,　 Noda City Library collection

The publisher is Shinshu Tozando. Outside the text, there is an AratameStamp and an EtoMonthStamp (Snake January). This censorship style indicates that it was written in 1857. The database also has information that a book with the same title was published by Moriya Jihei in 1859. However, the book in the Noda City Library collection was published by Shinshu Tozando and was written about two years earlier. I have not compared it with the Moriya Jihei version, but I think the illustrations and censorship stamps are the same. I have not examined all the pages in person, but here there is a strange drawing of a tsuchigumo (large spider) in the lower left corner. Speaking of Yorimitsu and Oeyama, it brings to mind the slaying of Shuten-doji on Mt. Oe. The story of “Yorimitsu Oeyamairi” also recalls the story of Yorimitsu ordering four warlords (Watanabe Tsuna, Sakata Kintoki, Tobe Suetake, and Usui Sadamitsu) to exterminate the tsuchigumo (spider spiders). In the folk history book of the Edo period, “Zen Taiheiki, ” this story is known as “The Extermination of the Tsuchigumo on Mount Katsuragi”⁽⁷⁰⁾.

https://www.library-noda.jp/homepage/digilib/wako/124.html

Shiraisi　Monogatari白石物語　　仮名垣魯文作　国周画　一鶯齋国周画　　（国文学研究資料館）

The book was published by Moriya Jihei, and EtoMonthStamp (Snake July) and AratameStamp were stamped in the margin of the first volume. The second volume was stamped only by AratameStamp, but it was judged to be the same year as the first volume, so it was made in 1857. On the last page of the second volume, Ichiousai Kunichika’s signature and Tosidama Stamp were drawn under his signature. Vigorous movements and emotional expressions must be prominent due to the need to expand the image of the story. The 26 frames (pages on the database) were also vividly depicted, such as scenes of fierce fighting. Thus, there is a big difference between the 1855 “Sumidagawa Yowatashi no Zu” and this illustration. The illustrations are characterized by being conscious of the development of the story and intense movements.

http://base1.nijl.ac.jp/iview/FrameList.jsp?DB_ID=G0003917KTM&C_CODE=0110-213801&PROC_TYPE=ON&SHOMEI=%E7%99%BD%E7%9F%B3%E7%89%A9%E8%AA%9E&REQUEST_MARK=%E3%83%8A%EF%BC%94%EF%BC%8D%EF%BC%95%EF%BC%92%EF%BC%91%EF%BC%8D%EF%BC%91%EF%BD%9E%EF%BC%92&OWNER=%E5%9B%BD%E6%96%87%E7%A0%94&BID=200010451

Ukiyo-e field

“浅草山中花くらべ”　By　Kunisada　 The scenery was drawn by Kunichika 　 the National Diet Library Digital寄別2-9-1-6

In May 1857, he painted the background of Kunisada II’s “Asakusa Sanchuu Hana Kurabe”. One of the five large papers works of Kunisada II’s “Asakusa Sanchuu Hana Kurabe” has the mark “背景国周Kunichika draws the scenery”, and 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 EtoMonthStamp (SnakeJan.) and AratameStamp. The publication was Tsujiokaya.

https://dl.ndl.go.jp/info:ndljp/pid/1305498

Imayo Genji no Uchi Tsuki (2 pieces) from the Boston Museum of Fine Arts and Cormorant Night Party (triptych) from Waseda Library Ichiousai Kunichika, Kachourou Kunichika and Kunichika Painting

“Imayou Genji no uchi Tsuki” was drawn in 1857 because it is EtoMonthStamp (DragonMarch) & AratameStamp. The publication is Ueju, so Kinjudo Joshuya Juuzo. This “Imayou Genji no uchi Tsuki” is a screen with an aspect ratio of 2: 3 that combines two large-sized papers 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 drawn in a fixed pattern called “Ebichasenmage”^(20,p41). In other words, the prawn-shaped topknot is painted in brown, and the kimono is painted in bluish purple. He doesn’t look like the elegant Genji. He draws ordinary people and finishes them in ukiyo-e. The footwear drawn by Harunobu et al. is generally Japanese sandals, clogs with thin teeth, or clogs with rounded fronts, but here it seems difficult to walk with square clogs. 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 Boston Museum of Fine Arts, 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 triptych, “Cormorant Night Party”. When it comes to Triptych, 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 SoumaYoshikado Furutera no zu（1858） are drawn, each of them is useful for the composition of the leading role and the supporting role. In Asakusa Kinryusan Ichinozu（1858）, 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. There is something very 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.

Ukai’s Night Feast

Junikagetsu no uchi Ookawadoori　十二ヶ月の内　正月　大川通りの景　Ichiousai　Kunichika　 Owned by Nakano City Museum of History and Folklore, Tokyo

During New Year’s, a girl with her hair tied up in the Takashimada style⁽⁵⁶⁾ is trying to avoid a falling kite, which causes her to miss her hit with a shuttlecock. She is depicted as having lost her balance, with her right foot raised up, giving the painting a sense of movement. The way her body twists is skillfully done. In the background, the boy who let the kite go is chasing after it, nicely illustrating the story. Behind the woman are samurai, townspeople, and children celebrating New Year. The woman is a townswoman, and the painting depicts New Year’s.

Junikagetsu no uchi Kanbutsue 十二ヶ月の内　灌仏会　Kachourou Kunichika　 Catalogue of the Toyohara Kunichika Exhibition⁽⁶⁰⁾

Kanbutsue is a festival held on April 8th, which is Buddha’s birthday. The Buddha is enshrined in a flower hall decorated with seasonal flowers such as peonies and wisteria, and his birth is celebrated by pouring sweet tea over it⁽⁵⁶⁾. This scene is depicted in the background of this painting. It seems that shops lined the approach to the shrine. The flower hall in the upper right is not decorated, but a large barrel is depicted. The main character, a woman, appears to have written with ink on some kind of strip of paper, but she places her brush on it and points to it. We do not know the culture of the time and cannot understand this at all, but it appears to depict a lot of information.

Ansei 5th Horse 1858 安政５年

This year, 4 illustrations and 11 ukiyo-e were kept. In Ukiyo-e, there are portraits of Sekitori with compositions similar to those of his master Toyokuni III, as well as works depicting ordinary people’s daily lives, Kunichika’s first Ōkubi-e, and his masterpiece Manga-e. The ukiyo-e paintings he painted in this year were extremely wide-ranging and showed that he was capable of painting pictures in a variety of genres. The impression was given that he shifted his focus from his field of illustration to the field of ukiyo-e.

Fielld of Illustration

Kachikachiyama by Dontei Robun Painter:Kunichika, Ichiousai Kunichika Painting 　 Waseda University Library

This book is a compilation of Volumes 1 and 2, each with its own cover. The publisher is Itoya Fukujirou. Illustrations are often drawn on the back and 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 EtoMonthStamp (HorseSeptember) and AratameStamp 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.

https://archive.wul.waseda.ac.jp/kosho/he13/he13_03621/he13_03621.pdf

New Version　Saigoku Kidan Vol. 7 , by Tamenaga Shunsui, Kunichika Painting, Kunichika Assistance, 　Ansei 4th Year,　 National Diet Library Digital

The cover of the first volume was drawn by Toyokuni III, and the illustrations in the text were drawn by Kunisada II. Kunichika assisted with the last page of the first volume, and drew the illustration of the full moon and pine trees on the inside cover of the second volume. The preface to this book states that the manuscript was started in 1857, and it was published in 1859. Both volumes have Eto Month Stamps (February, Horse) in the text, so the illustrations were drawn in 1858, the Year of the Horse. The publisher was Kagaya Kichibei. In the image below, it says in the bottom right that “Kunichika assisted with half of the right page.” The illustration of the full moon and pine tree on the inside cover of the second volume of the seventh collection was drawn by Kunichika.

Igagoe Adauchi (伊賀越仇討) the first volume by Rakutei Saiba, 　Ichiousai Kunichika　Painting　 (　from　internet image)

The cover was drawn by Kunichika, and the illustration was drawn by Ichiousai Kunichika. The cover is a colored woodblock print, but the inside of the book consists of line drawings. It depicts revenge things featuring samurai and townspeople. The preface stated that the manuscript was made in Ansei 5 (1858) and was released in 1859 in the sheep year. However, the stamp that censored the painting is unknown. Therefore, the picture may be written in 1858. The painting depicts people wearing kimonos with carefully drawn patterns developing lively action scenes, but there is little change in individual facial expressions and their movements still give the impression of being awkward. The publisher is Yamaguchiya Toubei.

http://kitasan1970.livedoor.blog/archives/243239.html

Osiegusa Asagao Monogarari教草朝顔物語八編　By　Santou Kyouzan Roujin　 Kunichika　painting 　 Waseda University library

The first volume of this series was published in 1848 because it was censored by two Nanushi stamps and was dated the first year of Kaei. Toyokuni III drew 1 to 3 volumes 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 catalog at the end of the book says it was published in 1861, but the picture in the text is only EtoMonthStamp (HorseJune). Therefore, it is considered to be a work of 1858.　The movements of the characters in the illustrations are fluid and supple, giving the impression of movement. The eyes are well drawn, so the characters’ conversations are well expressed, but the facial expressions are still lacking. The backgrounds are also carefully drawn. The illustrations alone are enough to understand the development of the story. 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 Toshidama Stamp, it uses a square stamp type seal with Kunichika written in a seal carving. This font is also used in the memorial picture of Toyokuni III drawn in 1864.

The next illustration shows a woman wearing clogs. Her clogs are thick-sliced two-tooth clogs. This type of geta was also depicted in the paintings “Tosei Bijin Soroi” and “Imayo Genji no Uchitsuki”. In other paintings, geta that are easy to walk in are depicted, but there is still some doubt as to why they sometimes depict geta that are difficult to walk in.　 This type of geta shape is suited to walking while making an intentional “karan koron” noise.

he13_03757_0008.pdf (waseda.ac.jp)　 https://archive.wul.waseda.ac.jp/kosho/he13/he13_03757/

Ukiyo-e　field

Nijigadake Senemon Ichiousai Kunichika 　　 National Diet Library 本別7-27　04-009

Kunichika has published a work similar to the painting of Master Utagawa Toyokuni III. Kunichika drew “Nijigatake Somaemon虹ヶ嶽杣右ヱ門”, but in 1857 the year before, Utagawa Toyokuni III released “Kurume Onogawa Saisuke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), “Matsugaeda Kichisaburou松ヶ枝喜三郎” and “Washigahama Otoemon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 “Ohnaruto Nadaemon大鳴門灘右エ門” with almost the same composition design. It is famous that the Ukiyo-e was drawn in the background of the painting “Portrait of Emile Zola” painted by Edouard Manet in 1868. The composition of this standing figure seems to be a standard pattern as a sumo wrestler portrait at that time, and Kuniaki II draws “UmegayaToutarou梅ヶ谷藤太郎” and Sadanobu draws “Hibikiya Kumajuurou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.

Tousei Bijin soroi Kunichika & Ichiousai Kunichika Painting The Boston Museum of Fine Arts00.1245a-c

In 1858, the movement was incorporated into the beauty ukiyo-e, and the panoramic screen (aspect ratio 1: 2) gave a sense of perspective, creating a picture that captures the moment. This painting shows three groups of women talking, each talking about a different topic. 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.

Asakusa Kinryuuzan Ichi no zu Kachourou Kunichika, Ichiousai Kunichika and Kunichika Painting The Boston Museum of Fine Arts 11.41698A-C

“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 building, 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.

Sericulture　Ichiousai　Kunichika　Painting　　 Artelino (lower left)　

Kunichika painted “sericulture” in 1858. He depicts a woman, but not a prostitute, but a woman who takes care of silk moths, in a wearing kimono that looks more like cotton than silk. In this painting, he did not depict prostitutes, but ordinary women and their lives. Of course, there are paintings depicting women at work, such as Katsukawa Shunsho and Kitao Shigemasa’s joint work “Sericulture of Silkworms” (1876) and Utamaro’s “Women’s Silkworm Handiwork” (1798-1800). Their paintings were Bijin-ga, which gracefully depicts women, Kunichika’s paintings are based on the theme of sericulture. In this painting, he depicted a different from traditional ukiyo-e, that is, a general woman and her life, not a prostitute.

Aku Shichibei Kagekiyo, Kumagai Kojiro Naozane　　Ichiousai　Kunichika　Painting　 The Boston Museum of Fine Arts　11.22556 (upper right)

“Akushichibei Kagekiyo and Kumagai Kojiro Naoie” (1858) is a large-scale painting of the face, which Kunichika created in 1858 as the prototype of the style of painting that would later be called “Meiji Ohkubi-e” and “Ohkao-e”. Shunko was the first to paint such close-ups, followed by Sharaku. Many of the Ohkubi-e paintings are close-ups of the face, but the facial expression is a theatrical glare or deadpan style. Such close-ups can be used as a way of expressing the character’s feelings, such as intimidation, defiance, anger, surprise, or threat, through the actor to the viewer. Sharaku and Toyokuni III painted some such emotional expressions, but Kunichika completed them in 1869 with the Gusokuya set. This painting remained in the traditional style.

Genji　Gosekku　no Uchi　July　Tanabata　Kunichika　Painting　　 the National Diet Library　 VF6-F3-15

“Genji Gosekku no uchi July Tanabata” depicts the celebration of the common people’s festival in their daily lives. The composition of the painting allows it to be appreciated even if the toriptych is detached. 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.

Furyu　Mitate　Fukutsukusi　　Kunichika　＆　Ichiousai　Kunichika　Painting　　 the National Diet Library　 VF6-F1-18

It seems to be an old style of painting that follows on from previous eras, but this is an Uke-e, of which some works remain from 1861. Uke-e is a painting that was given to those who entered the auspicious Uke-e from Onmyodo, with names that start with “Fu” such as Mt. Fuji, Fukusuke, Fukurokuju, and wisteria(fuji in Japanese). This painting features Mt. Fuji, Fukurokuju, Fujimusume, Fuwa Banzaemon, Fudesuke, and Fukusuke. It was a culture that was popular during the Edo period and disappeared during the Meiji period (66). The happy faces are drawn with simple brush strokes. This painting seems to be a set of two, and there is nothing unnatural on the left or right edges of the painting, so it is unlikely to be a triptych, but it would not be strange if there was another one. It may just be kept in a private collection and not on display.

Mokuichigahikyoku Heikeichirui Arawarenozu目一秘曲平家一類顕図　 Kachourou　Kunichika　Painting　　 Waseda University Theater Museum 012-1422　etc　

The Fujiokaya Diary (21) states that this ukiyo-e caused controversy as it alluded to the issue of succession in the shogunate, leading to arrests. The artist is listed as Kachoro 華蝶楼, but not Kunichika. The name Kachoro Kunichika (花蝶楼国周) was used in “Imayo Genji no uchi Tsuki” (Month of Genji in Modern Times) in 1857, “Junikagetsu no uchi Kanbutsue” in the same year, and “Asakusa kinryuzan ichi no zu” (June 1858). The name Kachoro（華蝶楼）was first used in September 1858 with this painting. In “Hotaru Asobi” (1861), he used the name Kachoro Kunichika（華蝶楼国周). For these reasons, Kachoro（華蝶楼）is thought to be Kunichika. The same judgment is made in “Ukiyo-e Artists by Inoue Kazuo” (2), which states that Kachoro 華蝶楼 is Kunichika. There are few works with this name. This painting vividly depicts the scene in which Zatō Tsukiichi makes a statement, but Emperor Antoku objects, and the other military commanders follow the Emperor’s lead. The awkwardness of Satsuma no Kami Tadayoshi and Seo Taro on Zatōichi’s side is also depicted, creating a tense situation.

Souma Yoshikado Furudera no Zu Kunichika Painting　 The Boston Museum of Fine Arts11.44458A-C

The story of this painting is part of Utoyasukata Chuugiden, a story about Taira no Masakado’s bereaved son Yoshikado and his younger sister Princess Takiyasha, who follow in their father’s footsteps and aim for revival⁽⁶²⁾. “Soma Yoshikado Furudera no Zu” In 1858, the story is written in a picture and it is wonderful to imagine the story just by looking at it. As Shogun Taro Yoshikado and his subordinate warriors look on, the sorceress Takiyashahime brings in a box and when she opens it, a monster comes out along with some smoke. The surprised appearance of his subordinates, the glaring appearance of Yoshikado, the young people making noise in the back regardless of anything, and behind Yoshikado, a huge toad 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 brings expressive, ordinary people into the world of ukiyo-e, symbolized by paintings of beautiful women and landscapes, and gives the impression of bringing a story into which a number of these people are talking about all sorts of things. The story is familiar, so the viewer can understand what is depicted. Kunichika removes reality from his paintings and creates kawaii manga made up of fun pictures.

Ansei 6th Sheep　1859　　安政６年

There are two works related to illustration works this year. Ukiyo-e seems to have begun to be drawn with kabuki-themed actor paintings, but since there is a mistake in the annual judgment of the holding institution in the ukiyo-e search, only the works that have been confirmed by the censor stamp are introduced here. See Chapter 1 for the criteria that were excluded. There are two ukiyo-e works. The British Museum’s “Hanamori Bijin Soroi” is explained as a crepe work (63) that is in storage. This is a picture of a courtesan. Kunichika occasionally painted such gorgeous ukiyo-e, but the number of works is small.

Field of Illustration

Katakiuchi　shinodanomori（報讐信太森）　Vol.1 &2　By　Dontei　Robun　　Ichiousai　Kunichika　Painting 国書データベース

	


              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
Censor Stamp is combined into one with sheep / May /Aratame, so it's 1859. A
type of picture book that is divided into a page of text and a page of
pictures.　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　Eiyuseishoukouki　by Dontei Robun Ichiousai Kunichika Painting Union Catalogue of Early Japanese Books

The year of publication is 1860 because it is described as Kousin(庚申), but since there is CensorStamp(SheepJanuaryAratame) in the margin of the text, then 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 Itoya Shobei.

英雄成生功記 (nijl.ac.jp)

Ukiyo-e Field

An ukiyo-e search misclassified some of the actor paintings as works from 1859. Only works that are dating certain to be 1859 are introduced here.

Ataka no Seki Kanjinchou 　　Kunichika　Draw 　 Waseda University Theater Museum 100-2832,2831,2830

This story is about Minamoto no Yoshitsune, who was suspected of plotting a rebellion against his older brother, Minamoto no Yoritomo, and was on the run. By saying that he fled to the Tohoku region, there is still a legend that Yoshitsune passed through here in various parts of Tohoku. Musashibo Benkei was a retainer who believed in Yoshitsune and followed him. Yoshitsune and his party, who fled toward the north, are interrogated by Togashinosuke Iemori at the checkpoint in Ataka. Benkei explains that he is working to collect donations for the construction of the temple, and he reads out the Kanjincho as evidence. This was all a fabrication, but Benkei escaped by unfolding a blank sheet of paper and reading it out loud as if it were written there. However, Togashi calls out a man among his followers who resembles Yoshitsune’s description. Benkei hits Yoshitsune, who pretends to be his attendant, saying, “I was suspected because you were procrastinating.” Seeing this, Togashi was impressed that his vassal had beaten the lord, so he silently overlooked it and passed it through the checkpoint.

The 1859 work “Ataka no Seki Kanjinchou” 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 Togashinosuke Iemori 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, Shijaku, 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 Censor Stamps of all Toyokuni III works are( SheepJune Aratame), and the carvers are 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. The Censor Stamp is sheep / June / AratameStamp, and the issuance is the same as Toyokuni III. However, the carver was unknown and the publisher was Yamamoto Kyubei, but the stamp was 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. In 1840, painters were free to draw actors in Kabuki paintings, but the following year, around 1841, the Tempo Reforms began, and reforms to clean up the manners and customs and prohibit sumptuary began. The publication of colored prints of actors and geisha were prohibited^(11,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. Toyokuni III followed the rules and did not write down the names of the actors. Kunichika’s triptych paintings have censorship marks that change as they go from left to right, disappearing into darkness. The painting on the left has Kunichika’s name engraved on it, the one in the center has a seal stamped on top of the print, and the one on the far right does not have the artist’s seal. The name of the actor is gingerly written in the frame on the picture on the far right. 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 III. 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.

Hanamoribijinsoroi　Kunichika　and　Ichiousai　kunichika Painting 　 the British Museum 1915,0823,0.169.7-11

It’s a picture of five oirans. At first glance, the contrast seems strong, but it’s because the saturation is increased due to the shrink process⁽⁶³⁾, and as a result, it looks gorgeous. The British Museum (191508230.169.7-11) says it was a work of the cock year of 1861, but the Censor Stamp was a stamp in the style of (sheepAprilAratame), so it was 1859. However, the possibility of 1871 cannot be denied from the information on this Censor Stamp alone. And Kojima Usui criticized “花盛美人揃　The　Hanamoribijinsoroi drawn in April of Ansei 6 is not very good.”^(1,p245) Therefore, this painting was drawn in 1859. Because it is a shrunk picture, the continuity of the painting is somewhat lost at the joints. The flashy kimono patterns are typical of Kunichika. However, because of this flashiness, it is not a portrait of a beautiful woman standing, but rather a painting resembling a fashion show where people compete over the best kimono patterns.

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⁽¹⁵⁾, these ukiyo-e prints were judged to be works 12 years later. It was used as a criterion to judge whether the Kabuki actor’s name and the actor’s name were drawn at the same time too.

Manen　1^st Monkey 1860 万延元年

There were no illustrated books and uchiwa-e drawn by Kunichika. As for ukiyo-e, 20 works were detected in ukiyo-e research, but 6 works were clearly made in 1860. And three works were found in other searches, so there were 9 works in total this year.

Field of Ukiyo-e

Bunji4nen　Sesshudaimotsuura nanpuu no zu（文治四年摂州大物浦灘風之図） Kunichika,　Ichiousai Kunichika and Mushunan Kunichika painting The Boston Museum of Fine Arts　11.41739a-c

Kunichika drew this picture based on the play “Funa Benkei,” in which the ghosts of those who died in the sea of Dannoura attack a ship that was being tossed about by big waves. In this painting, the battle between Benkei and the ghosts is emphasized, and the powerful battle is expressed as the theme. On the other hand, Kuniyoshi draws in a way that explains the whole story of what happened in the past. This way of drawing Kunichika is a technique to express by narrowing down the theme. Even when he draws actor paintings, he is familiar with the method of concentrating on the feelings and movements of the actors during the conflict, rather than depicting the conflict in the story.

Imayou Genji Sankyoku Yuukyouno zu 　　　Kunichika　Paining　　 the Boston Museum of Fine Arts 11.21398-400

It is a careful drawing with a bird’s-eye view composition. The paintings of the folding screen in the background and the decorations between the alcove 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.

Hachikanjihisaminotekomae　　Ichiousai　Kunichika Paiting The Boston Museum of Fine Arts 11.41784a-c

It is a picture of a gorgeous courtesan. Kunichika sometimes painted very flashy pictures like this. Kunichika carefully draws eye-catching kimono patterns. This painting, like “Hanamoribijinsoroi in 1859, Ansei 6” which was severely criticized by Kojima Usui⁽¹⁾, depicts a courtesan in a flashy kimono. The flashiness of the kimono is captivating. This method is considered to be a drawback when drawing bijinga. Also, although it seems to be intentional, the way Kamuro and Oiran are layered together and the volume of the kimono is increased gives a lively impression, but when viewed from a modern perspective the painting comes across as cluttered.

Imayou Fukujin Takara Asobi（今様福神宝遊狂）　　Ichiousai Kunichika & Kunichika　Painting　　 Tokyo Metropolitan Library 319-C009,319-C007

It’s a fun picture of the god of good fortune spreading treasure and the children making a fuss. The six lucky gods depicted here are Hotei, Fukurokuju, Ebisu, Benzaiten, Bishamonten, and Jurojin. Currently, Daikokuten is added as one of the Seven Lucky Gods, but there were only six of them here.

Sannou Onsairei　Banzuke（山王御祭礼番付）　Kunichika Painting 　　 Tokyo Metropolitan Library331-k4

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.

Taiheiki Daigassen　Ichiousai Kunichika　painting　　Artelino Collection

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 draws 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.

Yokohama Rouchu no zu 横浜廊中之図　Kachourou Kunichika Ichiousai Kunichika from Amy Newland⁽⁵³⁾

This painting depicts the daily lives of courtesans in Yokohama’s red-light district. It is spring, and the cherry blossoms are in full bloom. The woman on the left has her hair done in a Date Hyogo style and is writing a letter. The woman in the centre with her hair tied up in a Takashimada style is talking to a courtesan while getting changed. The courtesan on the right is frolicking with Kamuro. The background depicts the brothel and the outside world that surrounds them. On the right side of the street outside the gate is what appears to be a courtesan procession, and by the central gate is a foreign-looking person wearing a hat and coat, befitting the town of Yokohama. The bustle within the red-light district is also depicted, and in the distance, ships with sails can be seen passing by on the sea.

Ooigawa Tokouwataru zu 大井川徒行渡図 Kunichika Painting Kyouto University of the arts, Geijutsu-kan

Because bridges and ferries were prohibited over the Ooi River for military reasons, travelers crossed the river on the shoulders of Kawagoe porters or in a palanquin (69, p. 97). Here, a princess is depicted crossing the wide Ooi River in a palanquin, and a low-ranking Koshimoto (servant) is also depicted crossing the river on the shoulders of porters or in a palanquin. On the right, a woman is depicted forcibly climbing onto a palanquin that already has one woman sitting on it, while the man in the center seems perplexed, saying that two people are not possible, and the man on the bottom right has his eyes wide with surprise.

Kyoumachi 1 choume Okamoto Rou nai Shigeoka　重岡 (lower left) Kunichika Painting Kyoto University of the Arts Museum, Geijutsu-kan

The painting on the left, “Shigeoka,” is one of a series of five courtesans, the remaining four of which were painted in 1861. The patterns on the kimonos are gorgeous, and a dragon is reaching for the sky with Mt. Fuji in the background. The painting is done in a way that intentionally layers the figures around the Oiran to bring out the volume of the kimono in similar colors, but kamuro, sodefuri sinzou, and others get in the way and it doesn’t become a portrait of a beautiful woman, and only the gorgeousness of the kimono stands out.

This painting was inspected in December. The other four works were inspected in February and March of the following year. Many sequels are completed in one go, so in this case, the subtle gaps were a concern. A painting of a gorgeous courtesan in a kimono like this one is Hanamori Bijin Soroi from 1859. Since they are similar paintings, they were looked into and the second from the left in the “Hanamori Bijin Soroi” Tsudukimono (right in the figure below) is found to be identical to this painting, in which a dragon is depicted on a kimono. The details of the kimono, as well as the positioning and expressions of the figures, such as the courtesan, tsubaki, and sedeburi shinzo, are all identical. The only differences are the color scheme and the inscription “Hanamori Bijin Soroi” with the inscription “Kyomachi 1-chome Okamotoro Shigeoka.” A final judgment cannot be made without comparing the two actual works, but they seem to be the same work. This led to a comparison of the 1861 painting of Takikawa, Nagao, Nakagawa and Hanamurasaki with the 1859 Hanamori Bijin Soroi, but there were no other works that matched, with the kimono patterns, placement of the figures, hairpins and facial expressions all changing. Although published at different times and by different publishers, it remains intriguing that there exists a work that appears to be exactly the same.

Bunkyu 1^st Cock　 1861　　文久元年

There were 2 illustration works and 10 ukiyo-e works. There were works that depicted ordinary people, works that drew eyebrows and beards to create facial expressions that seemed to pursue reality, and depictions of actors that were refined and simplified to look like cartoons. After this year, paintings that pursued reality with thick beards and eyebrows, such as Taiheiki and Chuusinngura, were not drawn. On the other hand, the actor’s facial expression was established as the image of the actor held by the common people of Edo.

Field of Illustration

　Osiegusa　Nyoboukatagi(教草女房形気)　Vol.22 by Kakutei Shuga, Kunisada painting, Ichiousai draw on cover page　　 Waseda University Theater Museum

Since the Censor Stamp (CockAprilAratame) was stamped outside the text frame, it was set to 1861. The painter’s name is obscured by a sticker in the library, but “Ichiou” can be read. Kunichika sometimes drew an illustration picture on the back cover of the book, but in this book, Kunichika drew the cover of the combined volume of writer Kakutei Shuga 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酉)

濡衣女鳴神　NuregoromoOnnanarukami　Vol.9　By　Kakutei Shuga　Utagawa kunichika painting　collection of Senshuu University

This book has 10 volumes and 40 parts, and was published by Kinshodo with illustrations by Kunisada II and Kunichika over a long period of time from 1856 to 1862. Volume 9 was published in 1862 (Bunkyu 2) and illustrated by Kunichika. The artist is Utagawa Kunichika, and the preface says “Bunkyu 2” so it was published in 1862, but the censorship stamps were Cock September and Cock October. Therefore, the illustrations were drawn in the previous year, 1861. Furthermore, the name “Ichitamesai Kunichika 一為齋国周” was used. Although it is thought that there is no direct connection to this name, Katsushika Hokusai used the name “Tameichi　為一” as “Hokusai Change Tameichi 北斎改為一” from 1820 to 1833. This “Tameichi為一” and Kunichika’s “Ichitame一為” are completely different, but it is interesting to see if there is some kind of connection between them. In the illustrated illustration, the facial expression is simple, but the kimono patterns are carefully drawn. In the background, a wide range of birds, frogs, flowers, butterflies, silver grass, pine trees, lanterns, the texture of wooden furniture, food, landscapes, and other elements of the story are depicted. Also, the depiction of hair has become more detailed.

_{OPACシステム (senshu-u.ac.jp)}

Ukiyo-e Field

Mokushounohito(木性の人)　 Ichiousai Kunichika Painting 　 Tokyo Metropolitan Library389-C021

Uke-e was explained in 1858’s Furyu Mitate Fukuzukushi. This picture is also an Uke-e. As a thing with “Fu”,　Fuji(Wisteria), Fukigusa, Fuyo, Fujinadeshiko, Fuuran, Fukusuke, and Fukumusume are depicted.

Fukunin Kotobuki Uke ni irifune（福人寿有卦入船)　　Kunichika　Painting　　　 Tokyo Metropolitan Library389-C013　　 Lower left

This picture is also an Uke-e picture like the previous example, and many Uke-e pictures from this year have been preserved. In this picture, Fukusuke, Adonis flower, Mt. Fuji, and Fukumusume are depicted as things that start with “fu” in Japanese. Fukusuke is said to have been modeled after Sataro, a real-life dwarf who lived in the mid-Edo period. Because he was short, his head was relatively large, making him cute. It seems that this was made into a doll and became popular.

Teikano Usagi Kinshou no hito ukeni iru(丁卯　金性の人うけニ入)　　　　Ichiousai　Kunichika　Painting　　　　 the National Diet LibraryVF6-F1-2　　Upper right

The title is “丁卯Teikano Usagi” that means 1867, but the Censor Stamp is (CockMarchAratame), so it is a work of 1861. This is an Uke-e painting, drawn in the style of the Degatari zu established by Kiyonaga. In this picture, from the plays that are attached with “Fu”, there are “Fujita Renchu”, “Furiotosi no Maku”, “Fukusuke’s Shikan”, “Furiotosino maku(a drop curtain)”, “Fukuji Shirozake”, “otaFuku”, etc. can be read.

Mokusei no hito 8 gatsu 5 nichi Ukenihairu Ichiousai Kunichika Painting with Gohishi Stamp, from Toyohara Kunichika Exhibition Catalogue ⁽⁶⁵⁾

This is Uke-e. Fukusuke and Fukumusume are chatting. The dead tree in the flowerpot is made up of characters that start with “fu”, such as “fukusa”, “fuuran”, and “funori”. Under the words “Ichiousai Kunichika Painting”, “Gohishi Stamp” is stamped instead of “Tosidama Stamp”. Currently, this is the oldest example of the use of the Gohishi Stamp.

Taiheiki　Kunichika Painting　　　The Boston Museum of Fine Arts11.41798a-c

As an illustration of a book, Kunichika draws a lot of this kind, but here it is a color version. The fierceness of the battle is conveyed in the scene where the horses are violently manipulated and the warriors on horseback bend their bodies to fight fiercely. There are few works depicting a face with such a powerful expression.

Chuushingishi no adauchi(忠臣義士仇討)　　　Kunichika, Ichiousai Kunichika and ichiou kunichika painting　　 Waseda University Library　文庫30_b0368

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 strength, 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 Taiheiki Daigassen, but this way of drawing a face is suitable for paintings that are glaring at the battlefield, but not for various inner emotional expressions.

https://archive.wul.waseda.ac.jp/kosho/bunko30/bunko30_b0368/bunko30_b0368.html

Firefly Viewing Kachourou Kunichika and Ichiousai Kunichika Painting 　 Japan art Open database

This is a picture of young lord hunting fireflies. The scene of women chasing fireflies in the distance is also depicted, and it is depicted in an everyday atmosphere rather than an elegant play scene.

Oiran Takigawa Nagao Nakagawa Shigeoka Hanamurasaki 花魁　滝川　長尾　中川　重岡　花紫　　　Kunichika Painting Ichiousai Kunichika Painting from Amy New Land⁽⁵³⁾ and Kyoto University of the Arts, Geijutsu-kan

These paintings are from the collection of the Kyoto University of Arts Museum and are quoted from Amy Newland. Each triptych includes Nagao, and excluding this overlap, there are five courtesans depicted. Kunichika’s triptychs often have a continuous background as if they were one scene. However, even if the arrangement of these three panels is changed, there is no continuity in the background. Therefore, they were thought to be works painted as independent paintings. The pattern on the kimono is flashy, and the eye is drawn to the pattern before the expression or posture of the person. The pattern on the kimono is skillfully painted so as not to lose the three-dimensionality of the kimono. All three women’s faces are similar, and there isn’t much individuality to each one. The oiran is surrounded by overlapping kamuro and umbrella-holding men, giving it a sense of realism, but as a painting it seems cluttered with no clear main character. The facial expressions are almost the same, and no individuality is expressed. Rather than a portrait of a beautiful woman or an oiran, it seems like a painting that boasts the pattern of the kimono. Of these paintings, Shigeoka’s, the central one in the triptych, was censored in December 1860, but the others were censored in February and March 1861. Also, as mentioned in the section on 1860, Shigeoka’s painting was almost identical to the single-figure “Hanamori Bijin Soroi” painted in 1859, except for the color scheme.

Kawarazaki Gonjurou 河原崎権十郎Kunichika Painting　　 Tokyo Metropolitan Library　M244-002　　

Soga Goro Tokimune(曽我五郎時宗）, who appears in “The Soga Brothers’ Revenge” is depicted. He is also written as Tokimune（時致）, the younger brother of the Soga brothers. His childhood name was Hakoomaru（箱王丸）. His older brother was Soga Juro Sukenari（曽我十郎祐成）, who was called Ichimanmaru（一萬丸）when he was a child. This play is often depicted in ukiyo-e. Kawarazaki Gonjuro, who later became Ichikawa Danjurou IX, was active under this name from 1852 to 1869 ^(16,p182) . From the Censor Stamp style, it can be seen from 1859 to 1871. Furthermore, it was only after 1861 that it became possible to list actor names and roles. So the work was made between 1861 and 1869, but the problem is that the “Eto” engraved on the censor 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.

Kunichika has drawn many ordinary people and samurai so far, but this Gonjuro has a long face, slightly larger eyes, and a thin and long line depicting the nose. I felt that Kunichika’s way of drawing people’s faces and style suddenly became innovative. Until now, Kunichika has painted many people, but at this time, it is believed that this work began to express the image of Kabuki actors that the common people of Edo had. Tanabe Masako states that Sharaku’s portrait was true and not accepted by the common people ^{(23,p10 )}. In short, I think that portraits that did not depict an ideal face but instead expressed individuality, in other words, portraits that were simply drawn as they were, would not have been accepted by the common people of Edo. It seems that Kunichika was able to capture the characteristics of the actors and beautify them to create a face that matches the character. Until this year, there were almost no actor paintings, but in the following year, there were 92 works in 1862, so it is possible that this work was highly evaluated. It is thought that the impetus for completing this painting was the painting by Toyokuni III. The previous year, 1860, Toyokuni III had released a number of actors Ohkubi-e, which may have inspired Kunichika. Among many of Toyokuni III’s works, Bando Hikosaburou’s facial expression gave me a different impression, and I think it resembles Kunichika’s Gonjurou’s facial expression.　I don’t know if the two are related or not, but it’s interesting. The censor stamp on both works make a strange mistake. In Kunichika’s work, the meaning of Eto is unclear, and in Toyokuni III’s work, the front and back are reversed and the characters of (MonkeyAprilAratame) are engraved.

Bunkyu 2^nd Dog　1862 文久２年

The activity in the illustration field is undiscovered. There were two fan paintings. Ninty two of his ukiyo-e works were on display to the public. His popularity began to rise as the number of actor paintings increased. It is believed that his Kawarazaki Gonjuro painting from the previous year was the trigger. The expression was stable and expressive actor paintings were drawn. There are long-shot drawings of the full body of the actors performing on stage, but there are also many lively medium-shot works that depict the actors from the waist upwards, expressing violent movements.　In one of Kunichika’s paintings, there was a painting that was partly painted by another artist as an assistant.

Field of Illustration

Ume no harukasumi no hikizome (梅春霞引始)　Vol.1 part2　　By Kanagaki Robun Kunichika Painting　　 National Institute of Japanese Literature

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 CensorStamp (BoarFeb.Aratame). Published by Tsujiokaya Bunsuke, Kinshoudo. The illustration is a double-page spread, with the kimono patterns and background carefully drawn, the facial features are clear and the conversation between the main characters is vividly depicted. If the illustrations in the text were written in hiragana characters, it would be believed that it was a recent period dram manga.

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

Fuuryuu mitate rokutamagawa(風流見立て六玉川)　　　Kunichika　Painting　　　 the National Diet Library

Both paintings are stamped with Suhama Stamp (KiwameDog), indicating that they were painted in 1862.　The expression is not stiff, and it is drawn with natural movements.　Looking at this picture from a modern point of view, the composition of the two people is stable on an aspect ratio 3:4 horizontal screen. Drawing in this medium shot from the waist up feels more stable than a large-sized ukiyo-e picture in vertical position. The relationship and conversation between the two people depicted can be read from their expressions and gestures. The subject of the painting is the six Tamagawa rivers, which are the six Tamagawa rivers described in Japanese poems as places of scenic beauty. The six places are Ide (Kyoto), Noji (Kusatsu City), Noda (Shiogama), Koya (Koyasan), Chofu (Tokyo), and Mishima (Takatsuki City).

Ukiyo-e Field

Regarding Kunichika’s 1862 works, Waseda University Theater Museum has 49 works, Tokyo Metropolitan Library has 7 works, National Diet Library has 2 works, The　Boston Museum of Fine Arts has 28 works, Waseda University Library has 3 works, and ARC portalsite has 57 works. The Ukiyo-e Search had 92 works available to the public around the world. Therefore, while up until now all of the works were introduced because the number of works available was small, from 1862 onwards, the introduction will be limited to works with distinctive features such as the way they were painted. From this year, many Kabuki actor paintings appeared, and it became common to list the cast names and actor names in ukiyo-e, and it can be said that the restrictions were weakened by the Tempo Reforms. As for the composition of ukiyo-e, there are many ukiyo-e prints of standing figures on the traditional stage, and many ukiyo-e prints of actors above the waist began to be released this year. Other than Kabuki plays, such as Nanso Satomi Hakkenden, Hauta Gonin Otoko, Hauta Tora no Maki, Rubella Genpuku Zu, Shunshoku Shuchu Hanaasobi as Genji-e（ Genji is main character.), etc. were published.

Yaoya Osichi (Sawamura Tanosuke) Kichisan(Sawamura Tosshou) Kunichika painting　The Boston Museum of Fine Arts 11.41577a-b

There is a record of Yaoya Oshichi (Sawamura Tanosuke) and page Kichiya (Sawamura Sawamura) in “Shochiku Umeiro Nibanme” which was performed at Nakamura-za from September 15th. It seems that this play was the theme. Oshichi, the daughter of a greengrocer, set fire to see her lover, and she was executed for that crime. The plot of this play is unknown.

This picture is a long-shot type picture that draws the whole body. Many of these long-shot pictures were still drawn. The actors and their stage performances are also depicted, reminiscent of the story of a Kabuki play. The publisher is Shimizuya Naojirou. The painting on the folding screen, which depicts butterflies and wild grasses, is written by抑嶌藤丸筆Yokushima Fujimaru. It was drawn by someone who was not a disciple. Sawamura Tanosuke III gained popularity as a seductive female impersonator ⁽⁵⁵⁾.

Mitate Tsukimi no uchi Kunichika painting the Boston Museum of Fine Arts11.44457a-c

A long-shot depiction of a summer evening for the common people of Edo, with the cool sound of wind chimes. The party has just started. The maid on the far right is hastily transferring sake from a large container with warm sake to a tokkuri. She rests her hand and is amused by the woman’s dance. A man is late. “I’m sorry,” he said, lifting the hem of his haori and barging in. The man on the far right smokes a cigarette and looks at the dance, saying, “U~n, it’s so sensual.” The sound of the shamisen echoes, and the dancing becomes more and more fun. In the center, “Otano” looks at “Tsurumaru Otokichi”. “Omitsu” on the left is courting a regular customer with a glamorous look. The man underneath is groaning as if he is trying to twist a poem with the inkstone by his side. A lively summer evening with shamisen playing.

Shoubuawase adauchi koudan（菖蒲合仇討講談）　　Nakamura　Shikan Kunichika Painting　The Boston Museum of Fine Arts　11.41692　

“Shobuawase adauchi koudan” performed at the Ichimura-za theater in May 1862. Shikan played the role of Nakano Tobei. In the picture, Tobei holds up a tag that says ‘Hosokawa Goyo’, but ‘Hosokawa’ does not appear in the performance records of the Kabuki chronology. The story is unknown. This kind of composition from the waist up (medium-shot) will increase from this year. This way of drawing is a way of drawing that concentrates on the audience the emotions and powerful movements of the actors. It was judged to be a work of 1862 from the CensorStamp(DogMayAratame).

Nansou Satomi Hakkenden（南総里見八犬伝）　　Jushima Kunichika, Kunichika and Ichiousai Kunichika Painting　　　 Tokyo Metropolitan LibraryH173-4

“Nanso Satomi Hakkenden” is a story like this. Yoshizane of Awa Province defeats the enemy military commander Kagetsura with the help of his beloved dog Yatsufusa, and hides in the mountains with Princess Fuse. Then, a man approaches to Princess Fuse, and her pet dog is killed by the man after some trouble. When Princess Fuse committed suicide due to grief, eight balls flew out from the prayer beads she was holding, and each ball became eight swordsmen, and they played an active role in the story of rewarding good and punishing evil. This is a picture of the story of Nanso Satomi Hakkenden, which is still well known today.The picture shows Inuzuka kicking his pursuers away, and it seems as if the story will unfold. Many fights are depicted on one screen. His painter’s names are Yanagishima Kunichika(寿嶋国周)、Ichiousai Kunichika and Kunichika.

HautaToranomaki （葉うた虎の巻） Kunichika Painting The Boston Museum of Fine Arts00.793　　

Released several times in series. It is a work with secrets written as “Tora no Maki” about love between men and women. And it is like a page of Kusazoshi.

Umeharugasumi　hikihajime　Kunichika painting　　 The Boston Museum of Fine 11.40547

It was published as a set. This work depicts Iwai Kumesaburo, but also features Kawarazaki Gonjuro, Nakamura Shikan, Sawamura Tanosuke, Bando Hikosaburo, Iwai Kumesaburo, and Ichimura Uzaemon. The backgrounds in all of the works are drawn in a single color of light ink, carefully drawn but not fussy, making for an elegant picture. The colors of the kimonos are subdued and elegant.

Shunshoku Shuchu Hanaasobi（春色酒中花あそび）　　Kunichika　Painting　The Boston Museum of Fine Arts00.1240-2

A gorgeous Genji-e. This picture is also added in the same way as Yaoya Oshichi introduced earlier. Genji’s kimono is written as “Tanakaan Satodama Fude”. Was it female 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 “Sakai Kikujo Fude”, so it seems that this artist painted the illustration on the folding screen. When adding to a picture in this way, there were many examples of drawing as “a disciple　＊＊＊” 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.

Regarding publishers related to Kunichika’s works

The number of Kunichika’s ukiyo-e prints has increased rapidly. Using three databases: the Boston Museum of Fine Arts, ARC portal site, and the Waseda University Theater Museum, the publishers of Kunichika’s ukiyo-e prints around 1862 were searched. For confirmation of the publisher, reference was made to “Publisher of Ukiyo-e Prints”^{(10, p134)}.

Kunichika’s works have been released by many publishers. Idutsuya and Etsuka were the publishers that published most of them. Also Tsujiokaya Bunsuke,Shimizuya Naojirou, Ohtaya Takichi, Kiya Soujirou, Hiranoya (Hiranoya Shinzou), Manzen (Yorozuya Zentarou), Uoya Eikichi, Oomiya Hisasuke, Surugaya Sakujirou, Kagiya Shoubei, Moriya Jihei, Hayashi Shougorou, Kakumotoya Kinjirou, Daikokuya Kichinosuke, Fusimiya Zenroku, Joushuya Kinzou, Shimaya Tetsuya, Iseya Shounosuke and Iseya Rihei were dealing with Kunichika’s works.

Among them, the marks of Shimizuya Naojirou and Yamazakiya Seishichi are not clearly distinguishable. In the three marks below, the left end is said to be Shimizuya Naojirou’s mark, but the center and right marks may be Yamazakiya Seishichi’s. Shimizuya Naojirou uses 月, but there are similar characters, such as the character for 円 instead of 月, and the character for 日instead of 月. Waseda University, ARC portal site, the Boston Museum of Fine Arts, and the Tokyo Metropolitan Library have all come to no clear conclusion. However, Yamazakiya Seishichi has an example of using the mark ”山清板” (see table). However, as can be seen in the table below, there are examples of one publisher using various marks, so future research is desired regarding the identification of the publisher.

Around 1863 About the carver related to Kunichika’s work

Regarding the carver, the primary color ukiyo-e illustrated book⁽⁹⁾ was used as a reference. Kunichika’s works have increased, so not only the publisher’s name but also the carver’s name will appear. It is thought that the carver also used many names, just as Kunichika wrote different names for his three paintings: Kachoro Kunichika, Ichiusai Kunichika, and Kunichika. For example, the works of the Boston Museum of Fine Arts, 1865, 11.44455a-c list the names of Horikou Daijirou and Matsusima Hori Dai, but this is a work carved by Matsusima Daijirou and he uses two names. In the work of the Boston Museum of Fine Arts, 11.41857a-c, three names appear: Horikou Daijirou, Katada Horichou, and Matsusima Horidai. In this case, three people, Matsusima Daijirou, Katada Choujirou, and Matsusima Masakichi, shared the responsibility. The works of the Boston Museum of Fine Arts 11.41647a-c have the names of Uemura Horiyasu and Katada Horichou, so Uemura Horiyasu and Katada Choujirou share the work. Therefore, it is not necessarily the case that a single carver finished the triptych with an awareness of the finished work.

The names of the carvers who appeared in Kunichika’s works, including those from 1862 and before and after, were examined. For the convenience of confirming the name of the carver, the results of researching works by other painters and works of other periods are shown in the table. In summarizing in this table, the grounds for some deviations from the primary color ukiyo-e picture book are described below. In addition, the source of the work is indicated, but the abbreviations are Enpaku: Theater Museum, BMFA:The Boston Museum of Fine Arts, ARC: ARC portal site, Tokyo: Tokyo Metropolitan Library.

1) Asakura Horichou, Asakura Horiman, Horichou Aratame Horiman (朝倉彫長、朝倉彫万、彫長改朝万）

In Primary Color Ukiyo-e Encyclopedia ⁽⁹⁾, Asakura　Horichou and Asakura Horiman are treated as different people as disciples of Asakura Ihachi.　However, since the work declares “Horichou Aratame Asaman” (change from Horichou to Asaman), it was judged to be the same person.

Asakura Horicho　　 1862 　　　 BMFA: 11.44457a-c

Asakura Horiman 　October 1863　　 ARC: arcUP8071

Horicho Aratame Asaman 　November 1863

　　　　　　　　　　　　　 Tokyo: 5643-C001-001 Tokyo: 5714-C021-001

　　　　　　　　　　　　　 Tokyo: 5714-C021-003　 Tokyo: 5714-C021-006　　　　　　　　　　　　　　　

Asakura Horiman 　　　　1864 　　　 BMFA: 11.41759a-c

Asakura Horiman 　　　　1865 　　 Tokyo: M245-005-001(02)

2) Katada Horichou, Horichou, Horikou Chou, Horiku Choujirou, Horikou Katada Choujirou　（片田彫長、彫長、彫工長、ホリ工長治郎、彫工片田長治郎）

Like Asakura Horichou’s name, there are many works that call themselves “XX Horichou”, but it is difficult to identify the person in the work that only mentions “Horichou”.　However, ‘Horichou’, which appears alongside Katada Horichou in the same work, is probably another name for Katada Horichou. In the original color ukiyo-e encyclopedia ⁽⁹⁾, Horikou Katada, Horikou Chou, Horichou, HoriKata Chou, and Katada Choujirou are described as the same person. However, although it was limited to around 1862, the name ‘長治郎Chojiro’ was there, but the name ‘長次郎Chojiro’ was not.

Horicho, Katada Horicho, Katada Horicho 　1865　　 BMFA: 11.34928a-c

Horikou Chou, Horikou Katadachou　　　　1868 　　BMFA: 11.41554a-c

Horikou Choujirou, Katada Horichou, Horikou Choujirou

　　　　　　　　　　　　　　　　　　　　　1867 FA: 11.16132, 11-16138, 11.16137

Horikou Katada Choujirou 　　　　　　　　1867 Tokyo: M346-6-3

３）Horikou Komakichi, Hori Ohta Komakichi, Koma Aratame Hori Tasichi, Horikou Komakichi, Hori Ohta Komakichi　（彫工駒吉、彫太田駒吉、駒改彫多七、彫工駒吉、彫太田駒吉）

The Encyclopedia of Primary Color Ukiyo-e describes, “Hori Koma, Hori Ohta Tashichi, Horikou Tashichi, Hori Tashichi are listed, and the real name is Ohta Komakichi.” In 1862, it says ‘駒改彫多七 Koma change to Hori Tashichi’, so Komakichi and Tashichi are the same person. He was born in 1834 and passed away in 1882 ^{(64, p154)}.

Horikou Komakichi, Hori Ohta Komakichi November 1862 Tokyo: 5714-C16-2 (Hauta)

Koma Aratame Hori Tashichi 　November 1862 Tokyo: 5643-C1-2 (Hauta)

Koma Aratame Hori Tashichi February 1863 BMFA: 11.41846a-c

Hori Ohta Tashichi April 1863 BMFA: 11.21847 (Zeze Castle)

Ohta Horikoma 　　 May 1862 Enpaku: 100-6379

4) Fuka Horichou, Horikou Fukachou, Fukagawa Horichou　（深彫長、彫工深長、深川彫長）

Horikou Fukachou and Fuka Horichou appear as the same person in the Encyclopedia of Primary Colors Ukiyo-e. Also, in the encyclopedia of primary color ukiyo-e, there is no mention of a carver using the name ‘Fukagawa’. However, if he was a carver who lived in Fukagawa, present-day Koto Ward, Tokyo, then Fuka in Fuka Horichou is thought to mean Fukagawa. If so, it can be considered that Fuka Horichou and Fukagawa Horichou are the same person. This matter requires further investigation.

“Horicho” appears in the triptych, and it is not possible to identify the carver by this alone. However, since there is “Horikou Fukachou” in the triptych, “Horichou” in this case would be his Horikou Fukachou.

Horichou, Horichou,Horikou Fukachou January 1861 BMFA: 11.44344a-c

Horikou Fukachou May 1861 ARC: arcUP3169

Hori Fukachou July 1861 ARC: arcUP0088

Fukagawa Horichou, Fukagawa Horichou, Horichou February 1862 BMFA11.443606

Horichou, Fukagawa Horichou,Fukagawa Horichou February 1862 ARC: arcUP0165-0167

Fuka Horichou October 1862 ARC: arcUP3146

5) Fukahori Hei, Hori Hei, Katada Hori Hei, and Horikou Hei　（深彫平、彫平、片田彫平、彫工平）

6) Horiyasulkoutou, Uemurahoriyasu (彫安刻刀、上邑彫安)

The third volume of the Colored Ukiyo-e Encyclopedia states that he was known as Binyasu for his excellent hair carving technique. Bin is the hair around the ears that is drawn with very fine lines, so carving it requires great skill.

See the following table for examples.

7) Horikogin, Horigin, Horigin, Horiko Ginjiro, Asai Ginjiro (彫工銀、彫銀、ホリ銀、彫工銀次郎、浅井銀次郎)

Listed in the third volume of the Genshoku Ukiyo-e Encyclopedia.