Lot 72G
Toyohara Kunichika (Japanese, 1835-1900). "Miyamoto Musashi and Kasahara Shinzaburo, Snow Scene at Mount Kiso" three hand-colored woodblocks, 1888. Signed in woodcut. A dramatic woodcut by Toyohara Kuichika depicting a kabuki scene of the young warrior Miyamoto Musashi dueling the elderly Kasahara Shinzaburo. Lost in the mountains, the young Musashi encountered the elderly Kasahara Shinzaburo, who offered to cook him some rice. While waiting, Musashi bragged about his martial arts expertise, whereupon the old man laughed and quoted the saying "Those who know do not speak, those who speak do not know." The angry samurai attacked him, while Kasahara used the wooden lid from the cooking pot of rice to easily deflect Musashi's blows. Discovering that Kasahara was actually the expert fencing master Tsukahara Bokuden, Musashi apologized and stayed to study with the master. Size of individual woodcut: 13.75" W x 9" H (34.9 cm x 22.9 cm); of triptych: 13.75" W x 27.25" H (34.9 cm x 69.2 cm); of frame: 19.25" W x 33" H (48.9 cm x 83.8 cm)
Woodblock prints were created in Japan as early as the 8th century to illustrate texts. By the 18th century, Japanese woodblock techniques had evolved and the first polychrome prints or nishiki-e were commissioned for wealthy patrons of the Edo period. This period is known for marvelous woodblock prints of female beauties, kabuki actors, sumo wrestlers, and courtesans of the infamous pleasure districts. In time, the repertoire expanded to include romantic landscapes, flora and fauna, and dramatic historical events. Ukiyo-e prints were known for birds-eye views, a penchant for strong line, and an appreciation for brilliant, saturated hues - all hallmarks of this fine Japanese artform. Works such as the examples featured in this lot played a major role in the West's perception of Japanese visual culture during the late 19th century when Japonisme exerted a powerful influence on French Impressionists such as Degas, Manet, and Monet, Post-Impressionists including Van Gogh, and pioneering Art Nouveau artists such as Toulouse-Lautrec.
About the artist: "Kunichika Toyohara was one the most important woodblock print artists of the Meiji period (1868-1912). Best known for his dramatic actor portraits (yakusha-e.), Kunichika ushered ukiyo-e into a new era of color printmaking. At his hand, the floating world came to life in rich purples and deep reds. Even as new artistic mediums became popular in Japan, Kunichika championed the genres and aesthetics of ukiyo-e in vivid color.
Born as Yasohachi Oshima in 1835, Kunichika's father was a public bathhouse proprietor in Kyobashi district, home to many artists and merchants. He assumed his mother's family name, Arakawa, during his youth. Kunichika began his artistic training around the age of 12 under Chikanobu Ichiosai Toyohara. Roughly two years later, Kunichika apprenticed under Kunisada Utagawa (1786-1865) and began to produce actor prints in the 1850s. Though he worked in the style of the Utagawa school, he never used the Utagawa name. Kunichika took his artist name from the names of his two teachers. After more than a decade in Kunisada's studio, Kunichika's popularity rose as he stepped out as an independent artist in the 1860s and 1870s.
Though Kunichika produced some bijin-ga (pictures of beautiful women), historical prints, and journalistic illustrations, his passion lay with the kabuki theater. From sprawling triptychs to okubi-e (large-head portraits) rich in emotion, Kunichika established himself as the leading artist of yakusha-e (actor prints). He immersed himself in the kabuki world, regularly spending time backstage, sketching the actors, socializing with the theatrical figures, and watching the plays. This wealth of personal experience in the theater lent an intimacy to his bold designs. Kunichika's notable students include Chikanobu Yoshu (1838-1912) and Chikashige Morikawa (fl. 1869-1882)" (source: Ronin Gallery website)
Provenance: private Park City, Utah, USA collection
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#188622
- Condition: Set behind glass in custom matte and frame with gallery paper and suspension wire on verso for display. Woodblocks have not been examined outside of frame but appear to be in good condition with expected age wear and strong overall imagery.
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