The Conn Oisseur Series

TH E CONNOISSEUR SERIES.

nn r ' Em m GumsouWm rx.

PICTURE P TER . B OS S c . T. . H um y J . the Illustrated Placard. most Artistic Examples of all

EnwnunF. Suntan, eight Black -and -White H E ART F TH E R M T O H OUSE. By OSA OND Wi th numerous Collo y e and other t p .

and elsewhere.

ENGLISH H I TORICAL P RTRAIT B S O S. y W H . B. Wm ulw. ith nearly a hundred Illustrations taken the originals. Demy 8vc .

LO O : EOR E ELL AND SO ND N G G B NS. AP A N EsE ILLUSTRATIO N

A HISTORY OF THE ARTS OF WOOD- CUT TING AND COLOUR TlNG lN JAPAN

° S M . RANGE . . BY EDWARD F ST , J

LO N DO N : GEO RGE BELL AN D S O NS YORK S TREE CO E RDE M X VII T, V NT GA N, DCCC C

ICAT BY P MI ION DED ED , ER SS ,

H . H APA S M I . T N I N T E E J E E S ER ,

TAKAAKI KATO ,

P I NT OF TH E APAN OC I TY T E C . RES DE J S E ,

ON N C TE TS .

PAGE

CH APTE R I . E ARLY ILLUSTRATED BOOKS

A T II CH P ER .

TH E BEGIN N IN G O F COLO UR PRINTING

H A TE 1 1 C P R 1 .

H A U NOBU SHU N HO AN TH I PUPIL R , S , D E R S

C H APT ER IV .

TAMA O TOYOKUN I AN Y EISH I U R , , D

C H APTER V .

H OKUSAI AND H IS PUPILS

C H APTER V I .

Y EISEN SHU N N AN TH I CONT M PO SE , D E R E

C H APT ER V II .

T H E OSAKA SCHOOL AND LATER ARTISTS

C H APTE R V III.

LANDSCAPE CONTE NTS .

CH APTER IX .

TECHNI! UE

CH APTER x .

SOME SUBJ ECTS OF ILLUSTRATIO N

’ LIST OF ARTISTs NAMES CH INESE CH ARACTERS

INDEx LIS T OF I LLU STRATIONS .

COLOURED PLATES.

DESIGN BY SUBJ ECT PAGE RII KI NA A w i n r tin a . O YO G T o La es o e I T d , W i g Poem SUZU I H AR N B wo m n f s i II . K U O U T Wo e o the Yo h wara KA W III . TSUGA A SHUN SH O Actor inthe Principal Female Part of the Play Uda

V TA AR ne of T n Fa I . U M O O the e mous WomenAuthors V T A AWA O Y O . U G T ’ KUNI A Princesss Garden- Party at ” a M omiji - Garden at KyOtO inAutumn

VI . UTAGAWA KUN I Y A G is a OSHI e h . H OKUSAI The M akura Bridge over the Sumida River T nt V H IRO IGE I . he Gate of h S i III . SH t e h o em l Shi-en- s a K t T p e, , yo o inWinter h

PROCESS BLOCKS

ANONYMOUS Designfor a Kimono (Seven nth nt r tee Ce uy) . 3 R se fr m a B tanica B k 1 o , o o l oo 9 Childrenat Play (Eighteenth n r Ce tuy) . il r t S houette Port ai . Actors InCharacter

Crane A Street Merchant S OF S RA O S LI T ILLU T TI N .

D ESIGN Iw SUBJ ECT GAKUTEI Illustrationto a Novel

Mount Fuj i Surimono :: Portrait of a Woman

BuddhistAngel Inthe Robe (1 1 :3v )

I I . M H ROSH GE I other and Child .

H I ROSH IGE IL . H ISH IKAWA MORONOBU Daikoku and Ebisu (c. “ H OKKEI Illustrationfromthe Ocen

A View of Mount Fuj l (Double Plate) Design for la cqueTJ aflJer

H OKUEA Illustrationto The H onest Clerk H OKUSAI ’ okusai s Pub

Illustration to a Novel by

Fish One of the Thirty-six Views of Mount Fuji ' H OKUSAI (KARO) Scene from the Drama oi ” The Fotty-sevenRonin H OKUSUI A Theatrical Scene H OSAI

Icm-o SHUMEOKU DemonsEngaged inCulinary

Actors inCharacter KEISAI VEIsEN

“ The Drama of The Forty» V sevenROnin. Scene III. DI SIGN 3 7 SUBJ ECT

KIKUH ARO Lady at the Tea Ceremony . KI TAO SH IGEMASA Illustrationto a Story . XITAO MASAYOSHI Fish KIYOMITSU Womanat Tea KORIUSAI Winding a Clock Street Scene KUNISADA Theatrical Character I Woman in Costume of

A Womanat her Toilet The Processes of Colour Printing rep resented by Women Girl ona Windy Day Portraits of H okusaI and Bakin

Portraits of Toyokuni I . Yeisen and Kuni s i , yo h NIS HI KAWA SUKENOBU Illustrationfrom the Occu pations of Women

RA MASANOBU . The ree Saki asters c OKUMU Th T ( .

WomenReading a Roll . View of Lake Biwa (Third

Sheet) . Actor InCharacter Of a Noble AnActor InCharacter Landscape inthe Seasonof Cherry Blossom Lady and Attendant Portrait of AO-giya Kwasen AnActor Dancing . Portrait of a Lady . Yegara H eida Killing a Fiery Serp ent SH U NZAN The Gate of the Templeof Asakusa SORAKU Womanwith Small Drum TAC HIBANA M ORI KUNI RokO ( I 71 4) Two Ladies ( 1 740 ) M onkey A EHARA SH UNC H OSAI Lan sca e T K , d p TORII K IYOMINE Portrait of a Girl TORII KIYONAGA A Samurai and Two Girls TORII KIYONOBU LIST OF ILLUSTRATIONS .

om e nBY sosync-r ORII KIYOTSUNE Two G rls inSnow- ime T , i T A Windy Day AnActor Portrait of a Woman TOYOKUNI (GosoTEI) Surimono . i TSUKIOKA SETTEI H ote . TSUKIOKA TANGE H orsemanand Boy UTAMARO Portrait of Utamaro at Work L Portrait of a ady . Yodo Castle on the Yodo

Street Performers on New ’ Year s Day I 34 A Promenade 56 A Writing Lesson 1 2 3 L 8 Portrait of a ady . 5 The Death of NittaYoshisada I 04 D N I NTRO UCTI O .

DURING the last twenty years such Euro ans as are interested inart have gradually gzcome alive to the faét that there has ex s e in a an a s cen i t d J p , for upw rd of two t es a s s a non tu i , chool of woodcut illu tr tio somewhat different lines to that Of their own a Of the O enits s e p rt world , but ft up rior ' e n a and s es s inboth t ch ic l arti tic r ult . The rowth Of thi s knowledge is interest in an a s s e e e ma se e as , hort k tch th r of y rv a gtting introduétionto a study of the art

itself. In 8 1 2 e at s saa Titsin h 1 a . , di d P ri M I c g , who for fourteen years served the Dutch East India Company as Chief of their settle a s ment at N ga aki . During this time he had beenat some pains to acquire all possible n a n as the a s s enes and i form tio to rt , ci c n s es Of the a anese and e e i du tri J p ; , mor ov r , to illustrate his knowledge by many docu a a e the a e b ments. A c t logu of l tt r will e found at the end of the posthumou s comi ilation his essa s and ans a ns of y tr l tio , pub i n ished n e . Ne veu and in Fr ch by M p ,

! xiv

En ish c ermann he e n gl by A k w r i , am n sun r ma s o s and a n n s o g d y p , bo k , p i ti g , are n e e e w seve al e e s ot d , tog th r ith r oth r it m of a similar nature : ne en a n s ine in s on Ni gr vi g pr t d colour , the sa e n e se a a e s ee s 1 0 m umb r of p r t h t , inches wide and 1 foot 2 inches 9 lines in e e esen n a anese a es in h ight , r pr ti g J p l di a i s v r ous dres es. Now this interesting record probably en i es Titsin h to the n ha n t tl M . g ho our of vi g been the earliest European Colleétor of a anese ur- ns and e na ure J p colo pri t , th ir t may be suggested by another estra of evi ’ dence which comes to us from a Japanese ’ s rce the effeét a the roduétions ou , to th t p of Utamaro were especially prized by Dutch m en. With the ex ceptionof the reproduétion ’ f - ns inOli hant s n of our colour pri t , p Accou t of the Missionof Lord Elginto China and Japan and the reproduétionof some ’ of H okusai sw oodcuts inone of the early ” es ne ' a Wee no e volum of O c k , furth r

‘ attention seems to have beenpaid to the sub eét un the nerna na x n j . til I t tio l E hibitio 1 86 2 i hi the a anese colleétion of , nw ch J p made by Sir Rutherford Alcock excited much wonder and admirationamong those in re i h a n er hto e s e nt e s. . L n t t d rt Mr Joh g , inaleéture at the R al ns i ndelIvered oy I titut o ,

n a nd one e c b Two To Okuni I I. sa a a by . y (Ku i d ), h y

iros . H hige I and II . ha the I st Ma 1 86 o nted out the of y , 3 , p i marvellou s skill showninwood - engraving and colour printing ; and the rare pamphlet in he a te a s e o e his e s which f rw rd mb di d vi w , is illustrated by a coarsely- printed Sheet

- from the set of the . Forty sevenRoninby K nsa a H is s s see S w u i d . critici m m to ho f that he was quite unacquainted with the b est work now knownto us ; and it is p robable that the exhibits di splayed onthi s oc as nas e as se at the a s Ex hi c io , w ll tho P ri u 1 86 e e the s a the bitio of 7, w r for mo t p rt of debased and deteriorated kind thencurrent n a h e n at Yedo a d O s ka. But t e r volutio of 1 868 attraéted a number of highly educated eans a an was ss e Europ to J p . It impo ibl that many Of them should not be impressed by the beauty and novelty of the better Class of prints ; and as they have gradually re t ne s n n n e ur d to thi cou try , bri gi g with th m fine specimens Of the earlier and better asses a new Of colleétors has cl of work , cult a sen the Ob eéts se e e ene a ri , j of who r v r c Ch rm as much by their intrinsic worth as by their

- half hiddenmystery and romance. Of late years the exhibitionof the Burling ton Fine Arts Club and those at other galleri es have advanced the knowledge of s a an e s e e the ea thi cr ft oth r t p , whil gr t success which has followed the establish ment of the Japan Society is a sufficient indication of the keenness with which a large public is now prepared to interest ROD C INT U TION .

' itself inalmost any of the delightful arts of n that cou try . is a e ffi s a e in e se It littl di cult to t t pr ci . language the ’ causes of the Charm these prints have for such as have learnt the ele en Of e anua e As an m ts th ir l g g . mere arr ge ments of decorative colour they are gener ally sriperb : as exercises in composition ar in th a e e e e a e ns asse . th y , ggr g t , u urp d “ But they at first st rike an outsider with

e n . a s r som thi g of hock . They a e so different

- so e el s. ne the h e . r b liou Si c Got ic p riod , WesternArt has lost ' its taste for— evenits un an n of— n n n The a derst di g co ve tio . Renis sance was a struggle in the direétion of ea sm a e onat s men ea r li ; c rri d . fir t by of gr t manipulative skill s It failed because its a s s new not the s e rti t k limit of th ir power . wa And the . failure s so magnificent that it bound and blinded EuropeanArt with its a i ns e enun s a d . tr dit o , v to thi y Now the Japanese artist is ot concerned with unne essar a a . henhe ses c y ccur cy Choo , he can— as in the drawrngs of birds and flowers— attain a realism far beyond that e hi W n en ver achieved by s ester brethr . enhe has a a e e whether it But wh t l to t ll , be the assi ns f es men the of p o or olli of , of ain nan the r fess na ea qu t i ity of p o io l b uty, the en e ness of e enin e er of t d r v g light , v y ns e a nis sac i e H e s co id r tio r fic d thereto . doe ' not call youaway from his sub eét at every nt a and w at is ra n poi to st y onder d wi g.

Onhe cont the a man e n a t l y , w lcomi g c ane from e ne i a e as it see e h g i v t bl , m d , stupidity or vulgarity of the old adver tisement i ra he re i e ha the ro , w ll t r jo c t t p phots of his culture have aptitude— even generosity— to admit influences tending so pleasantly to his gratification; and it is Indubitable that he has to thank the humble artiz ans of the Land of the Rising Sun for an a uain c nce es n and m y q t o it of d ig , an a a co n ene now m y h ppy i cid c of colour, pleasantly translated to the service of our a city w lls.

1

A personal note must be added on the circumstances attending the compilationof h sen u e has een en e d t e pre t vol m . It b r d re diflicult by the failure of anticipated help " from a an and a a n eas e the dis J p , g i , i r by cover nea e e n a n y, r r hom , of much i form tio n e And e now e a that was eed d . th re r m ins only the pleasant duty of publicly confessing the obli ations which many kind friends n e s a a se lai upo me . All lov r of J p ne piétorial art are under inestimable debt n rs n It has een im to Professor A de o . b ss e for me as w be for an u re po ibl , it ill y f tu e onthe sub eét av i uotIn writ r j , to o d q g him at almost every turn; and inacknowledging the Use I have made of the priceless stores of informationhe has accumulated for the efi the o d I woud add ere ben t of w rl , l th to INTRODUCTION. anexpressionof my thanks for the personal courtesy with which he has placed them at sal my dispo . To supplement the facts derived from his s a e had e se the n work , I h v r cour to mo o

raphs onUtamaro and Hokusai by Mons. d n se ea ea s E. c Go court , who d th , full of y r and n s we a e n a e de ho our , h v o ly l t ly to re the a ns Of ns n in plo ; to public tio Mo . Bi g Artistic Japan and elsewhere ; to informa n e ven tio most fre ly gi by my friend Mr . E a W s n se e t n dg r il o , who coll c io of colour prints is one of the best inEngland ; and to translations made for me from Japanese G ni o wa d es . e r an authoriti by Mr j Ko ki Mr. n uke a e Ta os . . s e H . O . From Mr Ch rl Holm , W ilsonand n Ed ar . s Mr. g , Mr Arthur Morri o I have received cordial permi ssionto repro duce examples not otherwi se easily attain a e and the a es ens n n bl , uthoriti of South K i gto se a e enme the sa e e e Mu um h v giv m privil g . am e e n e e I , mor ov r , i d bt d to Mr. L . W . e e the a na a Mich l tti , of N tio l Art Libr ry , for a great deal of valuable assistance in the coll étionand a an e en a a s e rr g m t of my m teri l . The s on and ar r two block pp . 5 9 e e produced by the permi ssion of Professor n e s nand ss s ee nd e . e a Co . A d r o M r S l y , Ltd . , ‘ from the Portfolio monograph onJapanese n a n s the e Wood E gr vi g by form r. he e a e as a e sa een an T r h v , I h v id , b m y

N . 1 Ma 1 8 o 7, y , 95 . TROD O IN UCTI N .

difficultiest ocontend with inthe prepara n of t s and ese s ex s tio hi work, th mu t cu e the erfect ns an n ease of imp io which i cr . general knowled e of the subj ect will - in ; i l i i h Th ev tab y br ng to g t. e menwho made the colour prints which form the main ect essa e e a sans and obj of my y w r but rti , no one deemed it necessary to preserve the details of lives so low downinthe social s a e a an e e are few a c l of J p . Th r ntive ea ses eali n the s b eét and se tr ti d g with uj , tho have beenavailable for me only through the n Th o e medium of the tra slator. e n possible method of dealing with the little information at hand has beento test it with the evidence ’ of ne s e es and set d n ha . is o y , it ow for w t it w inthe e a m at eas ns orth , hop th t it ay l t fur i h definite grounds for the labours of future B a e s ee e in ia writers. ut if I h v ucc d d teresting a public inone of the most Charm ing and most artistically valuable of the f I s a a e a a ne the nl an a s . h dicr t , h ll h v tt i d o y ambition I proposed to m self in under nd so s a es nen a n the as a . t ki g t k, h l r t co t t

D D F S R E . E WAR . T ANG

NATION L ART LIBRARY A , SOUTH 'KEN INGTON MUSEUM S , I A P A N E S E I LLU S T RAT I O N.

H P E C A T R I .

E LY LLU S E D BOO KS AR I TRAT .

FOR the beginning s Of book illustrationin a anwe a e as inthe ase Of he J p , h v to look , c t O e a s the an the s n S un th r rt of L d of Ri i g , n di étl e to a. re e the Chi Not y , how v r, for B s ss na es e uddhi t mi io ri , who took with th m traditions of the C rasco- Buddhi stic arts of India into ev ery c ountry whither they pene trated a e a an wa ea and , c m to J p by y of Kor , so added another influence to an already s e a n e a e e n om wh t co glom r t l ge d . Block- printing seems to have exi sted in ‘ n inth en A a e . D Chi fourth c tury . ; but the earliest specimens Of the art attributable to nar th a a e as e e e A D . 6 J p crib d to p riod . 7 4 “ 0 w en the ess an- in 77 , h Empr Shiy toku s ane a e e a ns a pur u c of vow, ord r d millio m ll woodentoy pagodas to be made for dist ri bution among the Buddhi st temples and nas e es Of the e n e a mo t ri whol cou try , ch of

H irm - lian st e K ia- to first r nte s g g , y l d , p i d book ” - - a t A. D. 0 at Tenen T I LA U bou 33 g tu. ERR EN DE GO ” P I Or nof Ch nese C v ation 1 8 ER E, igi i i iliz , 94, p. 345 . J APANESE ILLUSTRATION . which was to containa dlz dm nt out of the ‘ ddhist S e eni led a a n criptur , t t Vim l irb ’ asa ua s s an s e ens S . he e ex h tr T t t , m y p cim of are sa be s i l e an which id to t l xt t , printed onpap er ci hteeninches inlength in cit Ier m e a by two width , fro wood or m t l plates ; and although a number of these exam es are r e es see s e a n pl fo g ri , it m c rt i that enough are genuine to establi sh the a en he a n uth ticity of t st teme t. We may shortly summarize the hi story of Japanese printing so far as it relates to r nA he e snarl /Ion u s e t . I . D . 8 t ubj c 9 7, t rm , ”

. InA D . 1 1 2 a ne o is se . pri t d bo k , u d 7 p ” ea ane n the e eneen a s p red ditio of S v t L w , which is the earliest J apanese printed book “ Of n s s e re which a y record exi t . Oth r ' ligious publications appear at rare interval s u n the ne en es e e d ri g xt two c turi , tog th r with some few rude woodcuts ; but mentioning the ea es n nChines illustrated k rli t k ow e boo , “ t a n and the he Kw ni a A D . y S utr ( . K ean s the f een en we or book of fi t th c tury , ma at ne ass a ane the Ise y o c p to rom c , ” n a a at esen a ea Mo og t ri , which pr t pp r be t he earliest ! Japanese book of purely na e - s le and n It was s e tiv ty origi . publi h d in A . 1 608. . D Illustrated books are henceforward found ine er- in easin n e s but as a ule v cr g umb r , r Of e e e t. In man ases als m diocr m ri y c , o , e are e e s e e th y mb lli h d with crud colour,

DESI N F R A I ONO SEVENTEENT H NT Y G O CE UR . K M , a a an i 1 pplied invari bly by h d . But n 667 t e e a ea e anann s e t n in h r pp r d o ymou coll c io , several es es ns for kimono volum , of d ig , ES E S R 4 JAPAN ILLU T ATION .

the ue a en W not n s s ( o t r g rm t), hich o ly how many of the best characteristics of J apanese na en en ea es a er a or m t , but oft r ch v y f ir s an a e e s ha a e . s in d t d rd of x cutiv kill It , n the ne es a n een ne ditio , i t r t of h vi g b pri t d in at eas f u s ne e s e l t o r colour , ith r up r i se nor inan ase se e e mpo d y c u d tog th r, but employed inturnfor the two designs cut oneach block inorder to give variety to the encral effe t the t e s c of book , h fir t e e n in a the se n inO e coup b i g bl ck , co d liv e n the in r d an s e e d o on . gr , third , (p The importance of thi s seems to lie inthe faét a a a k n e e the use th t, lthough owl dg of of coloured inks for printing was thus con temporary with the desire for woodcut s a ns in e an one the illu tr tio mor th colour, earliest known book actually illustrated with Chromo- xylograph should not have

a A O . 1 8 . s e appe red until . 74 It e m s almost e a n e e a now a anese art is c rt i , how v r , th t J p be n e se and s en a s e i g mor clo ly ci tific lly tudi d , some intermediate link will be discovered e an a aff e the a s eets oth r th th t ord d by bro d h , a u nw e n a to which ll sio ill pr se tly be m de. But the end of the seventeenth century Was destined to see the dawnof a new era ; and it is at this point that for all practical the history of wood - engraving in

the ese artist directly connected h llustration is sa a e een wit book , id to h v b

E E JAPAN S ILLUSTRATION .

a na e a inBOshiu. H e was the tiv of Hod , sonOf a e e a e e e e s e c l br t d mbroid r r, Michi hig , and inhis youth l earned the practice of his ’ In fa e s a and a s es nfor . th r cr ft , l o to d ig it ea e e e he e Yas a inthe rly lif , how v r, l ft ud , ne Awa w e e he was en n provi c of , h r th livi g , to a onhis ade at e a n c rry tr Y do ; but, h vi g a ea e e e ana e a n n lr dy d v lop d ptitud for p i ti g , he gradually devoted himself entirely to the ar I n s new n ne t . s e se fi r thi pur uit, b i g lf ta he e a s na a a e the ught, , p rh p tur lly, dopt d ' s e and ene s Of the Uk z o- e PO a tyl t t y y , or ul r School founded b the pamter Iwasa Mata W e end Of e s x een en and t i t th c tury ; , devoting himself especially to the illustra n' o s e e se anen us in tio of b ok , x rci d ormo

fluence onthe future Of that art . Inhis old a e he enune the and a n the g r o c d world , t ki g new na e Yuchiku s a e his ea as m of , h v d h d was the s Of f s e s H e cu tom pro es ed r clues.

e inthe e D . 1 1 1 di d p riod Shotoku (A. 7 a s t aged bout eveny. ” As ana s sa s fess n e s n rti t , y Pro or A d r o , in; the British Museum Catalogue of a anese t a Art the s in J p Pic ori l , vigorou div idualit anifes ed in all his es ns y m t d ig , his e ne sense Of and his de r fi d colour, wi ran e e s na e h im as one the g of motiv , ig liz . of most striking figures inthe history of his h a school . H e moreover led t e w y for his ' s ess s inthe Ukz o- e not onl as an ucc or y y , y o

ex nen . nem a fe Inthe po t of co t por ry li , but ine e a n fiétIon e and sen t rpr t tio of , po try, ti en and is s are free the v ul m t , h work from garity that tainted the productions Of many Of the best representatives Of the school in H e e e se e later times. d vot d him lf chi fly to illustrations Of the amusements of the e asses and the e upp r Cl , fid lity with which he has treated their costume and other accessories gives his work as high a value the an a an as es the an to tiqu ri , do brilli cy Of his compositionand drawing to the art

lover . ’ M oronobus style is di stingui shed by its and cali ra hic e e n n simplicity g p xc lle ce of li e. the fa es his W enhe m a es use Of For c of om , k a eas n n en na e nde and pl i g if co v tio l typ , rou r e an se in ue a e on and w full r th tho vog l t r , ith a Charaaeristic treatment Of the looped- up hair Of the period . H is menare generally s es ea es and s a tudi from r l typ , di pl y much a nand a a te anim tio Ch r c r.

- M oronobu e s ns e e The l ft two o of r put . e es Morofusa a an ne the a n Of ld t , , b do d c lli g an a s a a e the se n rti t for th t of dy r ; co d , M orona a is sa a e es e a ex g , id to h v p ci lly e e in n ns and is c ll d colouri g pri t , it to him , e a s a the e n s e Of the p rh p , th t compl tio of om — a s n e es ne chromo xylogr ph , u doubt dly d ig d his a e ma be a O f e . ne O by f th r , y ttribut d these cannow be seeninthe collectionat ens n n se was South K i gto Mu um . It pub lished at Miyako about the middle Of the ee en eight nth c tury. It is necessary to exercise caution in E E JAPAN S ILLUSTRATION . selecting examples of the work Of Hishi a a M oronobu his na e was se k w , for m u d a a e a s a s e in his by l t r rti t , who l o work d style. The next book illustrator to whom re ference should be made is Okumura Ma sanobu a ne a and e Of , co t mpor ry follow r Moronobu a s a e ’ a s ecialit , who l o m d p y ‘ ’ the e n t e e and of Y ho , or pic ur book pur s e a s tues an re impl , lbum of pic r without y p tence Of text beyond a Short marginal H e e i n the sa script . work d me style as

Moronobu n the e 1 6 0- 1 20 duri g p riod 9 7 . e na es se e e Bunkaku Oth r m u d by him w r ,

’ H tsud TanchO and O en O e O . g , , G roku Confining our attention in the present chapter to those artists only who devoted themselves mainly to bg ok tlhrstgaw bl nd we may now pass to a ana Morikuni who was n in T chib , bor 1 6 0 and ed at the a e Of se en - e 7 , di g v ty ight

s a . in 1 748 . Our illu tr tion(p 1 0) is from “ the e nKo idan s e at sa a Y ho j , publi h d O k in 1 1 and i s e e e a s e en Of 7 4, th r for p cim ’ a Morikuni s e rliest style. It represents ' oko one the s Sem un R , of Buddhi t or u Rz sltz — e n s the e e se re b i g who , by x rci of li ious es ave a a ne a g virtu , h tt i d immort lity ; and for a Slight design has a wonderful a e e and n Mori effect of tmosph r motio . kuni was a ne Inthe s e Of the an s l tr i d tyl K o choo ,

W P r f n AN R ON . o t o o o o ra a anese DE S ( li M g ph, J p ” “ ' n ns b I rd. Wood E gravi g .

I o E E R O JAPAN S ILLUST ATI N .

' a an ne f r a the k z o- e but b do d it o th t of U y y . H e published a large number Of illustrated s es n an f and s a book of d ig , pl t orm , illu tr

t a d . ns e s e en s e c. n e a son tio to po m , l g d , , l ft a e a n W i n o u s . e e m d H kok , or Y uku i g v 1 1 anexa e of his ea en the (p. ) mpl tr tm t of

RoKo. BY TACH I BANA MORIKUNI

6 re a Of a n ess ns from book dr wi g l o , ehonOshukubai she at anwa , publi d N i sa a in 1 0 a s na ns s e (O k ) 74 , which l o co t i om fine studies of birds and illustrations of e es a anese s awn h ro of J p hi tory, dr with singular force and dramatic power ; while on 1 3 is a superb example from the " ” Ye onS hahOtai of the art of juggling the s m e ne w has e e S n with i pl li , hich v r i ce EARLY ILLUSTRATED BOOKS . beenso characteri stic of J apanese draughts men.

Two LAD IES . BY TAC HI BANA MORI KU NI

Of the numerous arti sts whose works be n h s e d we a e s a e n lo g to t i p rio , h v p c o ly E E JAPAN S ILLUSTRATION .

a e a e a n Of one hikawa for d t il d ccou t , s Ukiyo S ukenobu who was bornat Kyoto in1 6 H e was a e as a ue a n 71 . tr ind fig r p i ter an Ve n ke Morikuni a an by K o i o ; but, li , b doning the traditions Of the school Of his

as e a e the . new art Of es nn m t r, dopt d d ig i g

w s n his es ene In sa a. for oodcut , fixi g r id c O k A large number Of books illustrated by him were publi shed both during his life and after his death ; which latter occurred in 1 1 in -fi t a H i his e rs e . s w 75 , ighty y r ood cuts do not seem to have ever beenprinted in colour. S ukenobumust be considered as one Of a f a H is the leading book illustr tors O J pan. an e i s na w n its s he r g rrow, but ithi limit attai ns a very high order of excellence. The peculiar grace with which he invests his female figures 1 5 quite his own; and the “ a e as fess n e s n sa s e e l tt r, Pro or A d r o y , w r de Of the e a e a ns Of a s void , both x gg r tio tr it seeninthe works of the later Popular School and of the shapelessness and i nani ty which . ’ ears to have represented the Older artists appal ea n na e ese of b uty , but , u fortu t ly, th charming littleyspecimens Of Japanese girl e e a s all a e and a dis hood w r lmo t lik , h rdly played more individuality thanthe ladi es In a a n- a S ukenobu e a P ris fashio pl te. wrot “ v e s a e e en s the e n olum of illu tr t d l g d , Y ho Yamato Hiji the rest Of the books containing his designs being generally col

ANDER ON Br t s use m Cata o e . 0. S , i i h M u l gu , p 34

PA ESE R ON J A N ILLUST ATI . resemblance is so strong that one is bound ns e a e e see s be to co id r it, lthough th r m to no hi storical link Of evidence to d ne t m n k b i con Ct he two e . S u eno u s quoted by Japanese connoi sseurs Of art as a rare ns ane Of e ne en Inthe o a i t c r fi m t P pul r School . H e occasionally signed his work Bunkwado and J itokusai ; and among the engravers who collaborated with him may be men tioned FuImura Z en eimon a a J y , Mur k mi G imon and a h b en e S O ei. y , Niw 1 s f a Our illustration(p . 5 ) i rom book dealing with a subject much patroni sed by Japanese illustrators— the Occupations Of W en s e In1 2 inthe na om , publi h d 7 9 ; origi l es in a ane a s it occupi , ccord c with cu tom e n e ens e eans quit i compr h ibl to Europ , two s a a e s ee s the ep r t h t of volume. On 1 is an e a f th f p . 7 x mple O e work O - O S humboku i s a a not Ichi , who p rticul rly able for a series Of reproductions of famous t es b nese and a anese a s s pic ur y Chi J p rti t , translated i nto black and white with great a n and ee ese sub eéts d ri g fr dom . Th j always ingreat vogue the ffe en a s of di r t cr ft , lacquer and pottery Ichi - O have beenreprinted evenso late] l in 1 88 The a e we re roduce Is i' 7. pl t f om “ Wa anMeihitsuYe onTeka ami k g , i e a sa a in 2 - first pr nt d t O k 1 7 0. Ichi O i said to have died at the age of eighty- four

' ll iono Mr Inthe co eét f R. Ph ers R. né I. B . e S . .A. pi , F

ICH I- O SH U MBOKU

R JAPANE SE ILLUST ATION .

1 is a th T k Onp . 9 nexample from e OgO u ” MeishOshi one the a e s , of popul r guid book which are referred to at fuller length inthe a e on s e Th a s Ts kioka Ch pt r land cap . e rti t u an e 1 1 - 86 has a e a n his T g ( 7 7 ) , r put tio for torical es and asthe s a ns s figur , , illu tr tio how , very considerable skill indelineating move T ment . he book from which our example is akenwas en a e s Ni eimon t gr v d by Yo himi y , an 62 d published in1 7 . H P E C A T R I I . TH E B EGI N N I NG OF COLOU R P N N G RI TI .

As we a e a ea ned - n n h v lr dy hi t , colour pri ti g in a an1 5 a e e en Of the i n na n J p d v lopm t cli tio , qu i te natural in a soci ety which already ssesse anes a s e art O f a n n po d t bli h d p i ti g, to apply colour by hand to imp ressi ons from woodcuts taken inblack and white . Ex amples Of thi s process occur inthe seven teenth century ; but inthe early part Of the eighteenth it was u sed with much skill in the a s ee s es e a one a s bro d h t , p ci lly by rti t , Ki onobu the ne a and e a Torii y , co t mpor ry qu l n of M oro obu. Ki onobu se e sona na e was y , who p r l m hohe was a es en s O f and S i , r id t fir t Kyoto, a e a ds Of e he was n i n1 688 ft rw r Y do ; bor , 1 1 — 1 Ane a and flouri shed 7 0 730 . x mpl e of his style Of drawing will be well seen at 2 2 a e an re re p . , woodcut colour d by h d , p s n n a n n e and his a - e e ti g you g obl l dy lov . The s n s e ea en ea be tro g , impl tr tm t will r dily n e as e as a e a n eness inthe otic d , w ll c rt i rud na ena e a s Of the es es e a or m t l d t il rob , p ci lly ES E S R JAPAN ILLU T ATION .

’ the fret onthe mans garment and the floral ’ pattern (probably the kid or fiaulormz a a omm on a the an The sea j fi ) th t of wom . l is e a s a the en ra e and ma be p rh p th t of g v r, y

In s n one was se thi pri t but block u d , opaque colours being painted onthe finished i r i h m ess onwith t e brush . But to Kiyo no u is generally giventhe credit of having beenthe first arti st to use more than one in the roduétion Of a s ee s block p bro d h t , Those so made by him have three colours n a een and se- n the a e o ly, bl ck , gr , ro pi k , l tt r, n h as a e a e a a n . t e rul , f d d to f i t brow But technique of them 1 5 too good not to suggest ‘ an e a n . i n ea e . a rli r d t of origi Mr S tow, ee sa s : n n In s a ea s d d , y Pri ti g colour pp r to a l kak r be ne rly two centuries O d. S a iba a a es its i n the ea 1 6 en ttribut or gi to y r 95 , wh portraits of the aétor Ichikaha Dan- zhifu rau (Ichikawa coloured by thi s eans e e s Inthe s ee s Of e m , w r old tr t Y do for five a e e the wa ar as e. es e c h pi c Th , by y , l r I a aétual y att ibuted to Kiyonobu. n ddi n e e IS a a n e ess tio th r tr ditio , quot d by Prof or “ n e s n the effeét a The s a li A d r o , to th t , fir t p cationof the process inJapan1 5 said to pave een one Idz umi a Gonshiro ve b by y , who li d at the end the se eneenh en r and of v t t c tu y, made use of a second block to stamp certain a s his es n Mm a red l p rt of d ig with , co our

T w SA o . st r of Pr nt n in n Asiatic Hi o y i i g Japa .

Soc. of a anT ns c ra . De . 1 th 1 88 1 . J p , 5 , TORII KIYONOBU

W T O LOVERS.

H OF C R- R 2 T E BEGINNING OLOU P INTING . 3 extraét d n f safflOwer s e from a ki d O . Thi method of printing persisted until well into he f th r The e t middl e O e centu y . Louvr includes inthe small but Choice colleétion exhibited inthe Salle Grandidier a fine print r at the by Ko iusai inthis manner. But same time it is to be noted that the f ai nting of the red must by no means be always a n e e is a on t ke for grant d . Oft nit l id by

hand . A good example Of a printed broad sheet inthree colours by Torii Kiyonobuis e e n i t s a an . n r produc d by M Bi g Ar i tic J p ,

O . 2 N 9 . Ki onobu n e a s the e e s y fou d d chool , m mb r of which followed a cu stom u sual among a anese a s s Of a n a s a e Of his J p rti t , t ki g yll bl na e as a Of e own s we a e m p rt th ir . Thu h v i omasu Ki otsune Ki oshi e o y , y , y g , Kiy IK aru Ki ona a Ki omitsu and Ki omine . , y g , y , y Other arti sts who are al so to be dealt with as falling more or less withinthe influence of the Tom School are Ni shimura Shigen a a and a n In no ase g Suzuki H ru obu . c have we overmuch biographical information available ; but several Of these arti sts dis play either distinétionor development which is n n and as far as ss e e worth oti g, po ibl th y will therefore be dealt with inchronological e ord r. Torii Kiyomasu and KondO Sukeg oro Ki oharu e Ki onobu the y follow d y , of whom f i a e ormer s s id to have beena son. Th ir work is placed inthe second quarter of the JAPANESE ILLUSTRATION . e een en r ns s e e of ight th c tu y . It co i t d chi fly ea a ns and inthe ase the a e th tric l pri t , , c of l tt r, some book illustration; but specimens are ra e met r ly with . Ki omitsuwas the son Ki omasu Torii y of y , and e a 1 0 n has re work d bout 75 . M . Bi g e n a p roduc d i Arti stic Japan (No . 3) portrait of the aétor Tomedjuro Nakamura I nthe a t Of th n n a s W e a s p r e u K i hi . l o g ive anexample of a womanat tea ; but s n is e a n a e a e and thi pri t c rt i ly of l t r d t , would lead us to expect that Kiyomitsu was n a i 1 8 has a worki g cert inly n 7 0 . It certain severity of treatment which is not unattraétive and see s Charaéteristic , which m o f h s a s t i rti t . Kiyotsune is of about the same period as Ki omitsu s a n 26 is y , but our illu tr tio (p . ) ea e in a e an a the a e much rli r d t th th t of l tt r,

and superior to it ingrace . T he drapery is well managed but the extreme attenuation t an s and ee a s a a of he h d f t mount to f ult . The method of dressing the hair is a fair f a a e I the na th evidence O e rly d t . n origi l e

’ c r s e fine and ins e O f the efe t olou i v ry , , pit d c we a e ne the ene a es h v out , g r l r ult e Ki otsune also executed s e quit goodpoi t yd r om

s a ns n a a set the . book illu tr tio , ot bly of Chinese Twenty- four Examples of Filial e the es Of are en the Pi ty, figur which op to i The same Obj eét onas our illustration. first of the series contains one of those mar v ellons elephants that the Japanese have

R- R 2 TH E BEGINNING OF COLOU P INTING . 5 evolved partly from Chinese traditionand partly from their ownimaginations. KitaO S hi emasa a e a s KOS iusai g , c ll d l o , has much incommonwith the last- named H is ea en Of a er and com arti st . tr tm t dr p y s nare e a s e e he a s a s po itio p rh p b tt r , but l o f il curiously inthe management O f the anatomy r s he i us a onat 26 i e T . s of his figu . ll tr ti p one Of his ea e s and s o e a s rli r work , h uld p rh p be dated between 1 760 and 1 770 . In the colleétion at the National Art Library is a fine later example Of printing from four s in lac red een and e block , b k , , gr purpl , which has less Of what we may call the style Of s at n and its o et book illu tr io ; , by b ld , y a e a an e en o es ado s m gr c ful rr g m t , f r h w uch of the best work done by the next generation of artists. S hig emasa i llust rated a book in ee mes Yekon K oma adake : thr volu , g a us orses O f a anand ina i F mo H J p Ch , w th n rs The c e r i a their ow e . opy r fer ed to s d ted 1 8 2 but it ma not be a rst e i ion H 0 . e , y fi d t e in 1 8 1 at the a e O f e i t n t e di d 9 g gh y . A o h r arti st made use Of his name about 1 865 - 75 ; but the di fference Of t reatment and style is Of cou rse so Obviou s as to preve nt any ss i t Of nusi po ib li y co f on. It is advisable here to go back a little in a e in r er to meniona onte ar d t , o d t c mpor y of Ki onbu s ra hi ena a h m o S . i y , Ni himu g g Of Professor Andersonsays Many portraits Of a t s and men r nte f c or wo , p i d from our s a e his es ns a ea e e een block , ft r d ig , pp r d b tw NESE S R JAPA ILLU T ATION .

1 1 6 and 1 8 and un e his a s es s e 7 74 , d r u pic om advance was made in the art of chromo x ylography . S higenaga was the master of s awa To onobu e in1 8 and I hik y , who di d 7 9 , a s a -n had a n a e l o of Suzuki H ru obu , who ot bl share inthe further development of the art

(Chap .

‘ The two remainin arti sts Of the Tom Ki omine angKi ona a e n in School , y y g , b lo g s e and e a a e n e e a n. tyl p riod to l t r . g r tio Ki ona a was a Ki omitsu and y g pupil of y , worked after 1 765 . As a boy he was called Shinsuki his e s na na e e n S eikiui , p r o l m b i g j Ichibei he was the son a s e ; of publi h r, S hiroki a Ichi i H a e e y be . e illustr t d sev ral s one we e ue book , from of which r prod c a specimen in colours (Plate and he also executed a number of broadsheets Of e e ene the e high xc ll c . From pur ly artistic s an n Ki ona a s be e onas t dpoi t , y mu t look d the ea es his H is is gr t t of chool . drawing almost free from the errors of his prede cessors ; his grace and delicacy inno way ne H e was the s the i f rior. , too , fir t of Torii e n the ea a n and s to go b yo d th tric l pri t , illu The a es trate subj eéts from domestic life. f c of the subj eéts depiéted by him are full of e ess n and a n e nca con xpr io ; , llowi g for t ch i l v entions ma be sa be e , y truly id to quit a A an n in th Na re listic . n import t pri t e tional Art Library is worth referring to e e is a e esena nOf a e s h r . It r pr t tio gorg ou ly a e s wa a an e a a the ttir d Yo hi r wom , S g w , of TH E E OF R- 2 B GINNING COLOU PRINTING. 7

se a e Matsuba a the at Hou c ll d y , with two Th I ess n tendants due to her rank . e mpr io is a e fine one ons e a a e v ry , p ci lly thick p p r , and it bears an impressed seal reading Yei udo o Yedo is a Of the j f , which th t pub h r s sea is a s f n ona n lis e . Thi l l o ou d pri t i hi n h ea ns Of by Y e s (p . o t e rly pri t H ok saI s Fi sh by Hiroshige I . on u ” Famous Bridges and Waterfall s ( 1 826 and ona pri nt by Kiyomine (not that Th Of sea s hereinreproduced) . e evidence l is one onwhich too much reliance may be placed ; but it is worth more attentionthan a h e e In s ase the it h s ith rto rec ived . thi c period covered by the use Of the seal in questionis too wide for the assertionOf any he uns es a s es e s a t ory , but it f r i h ugg tiv cr p “ Of evidence as to the age Of the Fi sh Of i a 0 Hi roshige I . K yonag died between1 8 4 and 1 8 1 7. Kiyomine (S hOnosuke) married the only a e Of Ki omitsu and was a d ught r y , pupil f i a H e i th s f O K yong a. e work d n e tyle O To okuni u n the eri Bunkwa y I . d ri g p od (1 804 and was still alive in TempO 1 8 0— en he a ti e se the 3 43 , wh for m u d

- - na e his at e inlaw Ki omitsu. H e m of f h r , y equal s Kiyonag a in fineness of drawing and esi n has not we e the d g ; but , ho v r, ea s ua ties the e a s his r li tic q li of form r rti t , tend ency being rather toward s the type more Of an abstraction afterward s

Reference num er inL bra a 8 r C ta ue 8 . b i y log , J 4 9 JAPANE S E ILLUSTRATIO N

e e e a a n an Th d v lop d by Ut m ro a d Yeiz . e ’ na Of ou n 28 ha h s a at . s t e origi l r. illu tr tio p rare quality Of having the out lines Of the flesh printed inred ; examples of thi s p rac tice are al so known among the wo rk Of a a Th - c t is the Ut m ro . e thickly u cypher

- trad e mark Of the shop where the print was. sold ; t he seal underneath it that Of the pub lish r T f e . he subj ect O the print is the por trait of a girl of the Yoshi wara kissing a letter containing aninvitationto the theatre . The importance of the Torii School must e ns e e es inits ea e s a es t b co id r d to r t , rli r t g a all e ens onanarchmolo ical a e an v t , g r th r th a th anarti stic foundation. Not th t e work produced by its Chief members was in a s an e ana e rti tic, or of y oth r th high ord r of e e i e s r o e e e n . ts m a e e xc ll c , But rit quit v r shadowed by the hi storic importance Of the gradual progress made from the hand coloured broadsheets and those in two or ee ns n Ki onobu the thr ti t o ly , by y , to splendid chromo - xylographs Of Kiyonaga and Ki omine not e n a un y , which , if t ch ic lly The e a e are at all e ens ne e e . qu ll d , v t u xc ll d latter arti sts had to compete with many nem ar es Of e a a en and os co t por i qu l t l t , p sesse Of the sa e eans e ess n d m m for xpr i g it, e a a s e own and but th y lw y hold th ir , form the last link in the chainuniting the be ginning of colour- printing in J apan with the highest point to which it ever attained)

'

r m e o Art ur rr s n. F o th colleéti nof Mr. h Mo i o

NES E S R T JAPA ILLU T A ION .

su oro and s e at in 1 e 1 . g , publi h d Y do 77 ’ H arunobu S best- knownwork i s especially s n s e its e ne en and e a di ti gui h d for r fi m t d lic cy . Early pri nts are found bearing his sig nature which show a simpl i city and even ’ ness Of n i rude executio . Such anone s a small- sized print representing KumagaI s A ” T challenge to tsumori. he composi ti on is and effe t e e e Is no s es bold c iv , but th r ugg tion Of the style the arti st was to develop a e s n are se a l t r . Four colour o ly u d , bl ck , e eenand red and the re s e is llow , gr , i t r ’ n a li yy no mea s perfe6t . It be rs a pu sher S a the s na e the en a e K awa m rk , ig tur of r v r, oslz z and is si ned si H arunobu y , mp y , be e without prefix . should inclind to consider it some years earlier indate than the Chinese poem s above mentioned Be ween the a es men ne e e t d t tio d , how v r, H arunobu devoted himself especially to the representation of young men and treating his subj ects with singular and refinement ; the lines of the d eas and s t and the e ess n flow ily of ly, xpr io the faces is always that of a pleasing if n en a n ne a ne slight se tim t . H ru obu ver p i t d s actor . W e have now to consider the first of those intricate questions of identity raised by a practice of Japanese artists of changing their names or adopting that of another man

Nat ona r L rar ollection A t C 8 . i l ib y , J 4 47 ’ ” I FFI a o s Em re 1 G M . . R S, ik d pi , p 45 H U S H O H R S S . 1 A UNOBU , N , AND PUPIL 3 already distingui shed. During the period c e e the the as a s we ov r d by work of l t rti t , ee ns s a t o his ins ect m t with pri t imil r ubj , in s e in s e ea n the si tyl , co tum , but b ri g g ’ ' ‘ r s nature Ko z z i az . NOW this Korifi sai has always beencon id d as a se a a e a s s ere p r t rti t . Professor n e s nso asses n his na es A d r o cl him , givi g m , s a S hObei and his a e as a 1 60 I od , d t bout 7 the a anese sa to 1 780 . But J p y that there e e Koriusai one ana s Of samuraz w r two , rti t “ an easonOf his e a e r k , who , by r pov rty , m d ' ' ’ bad mslz z kz - e a n a n n s y for livi g. P i ti g , ss s man are f n i the po ibly by thi , ou d w th ' ‘ S i na e H akez a K oriusai M asakatsu tur , . T e other Koriusai is said to be identical with Suzuki H arunobu ; and after a minute comparison Of thei r work I have come to the conclu sionthat all the evidence goes to a b n te . e s prove it . If Pl I I co idered incon neétion the e a e s ne Koriusai with x mpl ig d , 2 in c a is su n at . a p 3 , whi h youth pporti g g irl on his shoulders while S he adjusts a the ene a S a of t ea en is clock , g r l imil rity r tm t The at once apparent . drapery may be well compared with that of a print repro “ n in s duced by M . Bi g Arti tic Japan a the e esena ( No . lthough r pr t tionOf the nne a ens ee nes as in the i r g rm t by thr li , S ee es Of the es Of a e l v figur Pl t I I . will be ’ found al so inthe fold s Of the mans dress ’ at 2 e the ea en . Of the s p 3 , whil tr tm t girl sleeves inthe latter is absolutely the same A P E SE S R J AN ILLU T ATION .

’ as in H arunobu s Chinese poem s already is i referred to . But it nthe heads that the

resemblance is most . striking ; especially in the s e nes in the a the curiou whit li h ir, s a n Of the a e e n the ea s and h di g l tt r b hi d r , the a n the e es and t dr wi g of y mou h . ' As Koriti sai we ea n a he was a to , l r th t samurai the a s a his e s na of f mily T uchiy , p r o l name being Oda S hObei ; that he studied with Harunobu under the same master ; e in e a‘ t O awacho and was a s liv d Y do g , l o known to his contemporaries as Yedo Yag anbori t he artist who worked a H e a ; at Y ganbori). m de hack im kakz long panel pictures (prints only)— and had the n a e H akkia a n ho or ry titl of . H ru obu e onthe een da O f the SIx th n di d fift th y mo th , 1 0 and the samurai KoriusaI Inthe 77 , fol

n ea .

lowi g y r 3 ’ H a n s a GOkan had ru obu pupil , Shib , S me ame a s a a ‘ o f book illustr tor. Of him Professor Anderson says : H e introduced co e - a e en a n ess he p p r pl t gr vi g, which proc g learned e e e e e ens of , tog th r with oth r l m t E eanart a es e and urop , from Dutch r id nt , ‘ p robably t he first Japanese who made use of the e lements of linear perspeétive in t a art but his e a ninthe s ne pic ori l , duc tio cie c f H 8 was e e e t . e ed in 1 8 1 at v ry imp r c di , - n the age of seventy o e. of t he sa e a son , st Gakuter A m rti , a un was the e - n n es ne H r obu , w ll k ow d ig r of no H e was a nd surimo . S hu shO a pupil of n , H R O S H S H O U S . A UN BU , UN , AND P PIL 33 afterwards of his contemporary Hokusai

a . (Ch p V ). e a e In a e s e ana s A littl l t r d t flouri h d rti t, Katsu awa ns o eason g Shu h , whom , by r of his own ea ness and Of a Of his s gr t th t pupil , critics have universally placed in the very e s an i r an n ee is for mo t r k . So mpo t t , i d d , he a is e on ec , th t it worth whil to put r ord every scrap Of informationrelating to him ; and we thu s make no apology for the arti stic enealo the e ma be se gy , if t rm y u d , which

Ollows. The line begins with a contemporary Of M oronobu a a a C hOshun a aine , Miy g w , p t r the a cho was rnat the of Popul r S ol , who bo a e Of i a a a war in1 682 H is vill g M y g w , O i , . son a a a S hunsui had a s e , Miy g w , di put with the a ne an H aru oshi and ed f p i t r K o y , kill our “ ” Of the an a he was K o f mily , for which senene ea h and ChOshun was t c d to d t , , who

a e e e 6 . 1 0 implic t d , to xil ( 75 a awa S hunsui was l e s Miy g fol ow d by pupil , ats awa hunui 1 1 K K ug S s (C . 74 at sugawa

S hinsui (C . 1 75 1 and J ikatsuMiyagawa — afterwards Katsugawa Shunsho— whose s n a ai the five e e ate fir t pri t, portr t of c l br d t s a e GOninOlokO a a ed 6 a e In1 . c or c ll d , pp r 7 4 “ S hunshO commonly u sed a seal shaped like a ar and ea n t he C a a te H a as/z i j , b ri g h r c r y , the name Of the merchant with whom he e s h e e h lodg d . From thi e r ceiv d t e nick na e Of Tsubo e ar and his m (littl j ), pupil ‘ Shunko was called Ko- tsubo Or the Little D . R JAPANES E ILLUST ATION .

s n H e ie onth e t J ar (Ander o ). d d e tw lf h day of the eighth month of Kwansei 4 and was buried in the S aifukuj i temple at Asakusa. No other biographical nOf ns o has informatio S hu h yet transpired . H e e s e artists of the sc , lik mo t oth r hool . e e his a en n the s rat Of d vot d tt tio to illu t ion. s and e se e a s book , produc d v r l which mu t ’ alwaysrank among the world s masterpieces

- Of book making . Among these we may in e t n a s a t s coll c io of portr it of c or , ‘ ‘ Kobi no Tsubo ( 1 S eiré B ij inA muse ka ami a s a en g , portr it of f ir wom the es n n and s s a e b t k ow , ju tly mo t dmir d of his t ns s charaéter — and the produc io of thi , ' “ N is/z iki H iakumn [SS/ m The n e , Hu dr d Poets and their Poems Thi s latter en e e na ns six s e work , wh compl t , co t i uppl mentary illustrations referring to the Rok -s base” six en - e s i Rir in . s s ne , or g ii po t It ig d ‘ Katsug awa Yz Zsuke F uj i (of Fuj iwaro)

‘ ' Shunsk o Ririn e n e na e his s , b i g th m of tudio ; en a e was n ‘ hi i the gr v r I ouye S nshich ro. Shunsho also executed some exquisite surimono ; but his great reputationrests on the a s ee s he e e are bro d h t produc d . Thes often. much smaller Insize thanthose by a e a s s— n ee see a e l t r rti t who , i d d , m to h v adopted the proportions used by the pupil s ns o a 1 x 1 0 as a a n of Shu h , bout 4 , tr ditio of — some rigidity the original of Plate I I I . e n 1 2 n es 6 n Th set m b i g i ch by o ly . e fro s e e can n be de which this: ,i §r produc d o ly SH UN KI

AN ACTOR DANCING.

A A E E R J P N S ILLUST ATION .

s nende as a . no e se obviou ly i t d to c ll for xcu . ns o we ma sa n a a ee s his Shu h , y y , i v ri bly k p ra e e in ne e e he a wa s d p ry qui t to ; mor ov r, l y e resene ne a as ns ns ea r p t d co t mpor ry f hio , i t d as e a s s a n se a of, did oth r rti t , t ki g tho of previous age. ' S hunshO was essentiall a as e and we y m t r, meet with evidencesof his influence through out the .whole remaining hi story of the art n s n we are ow discus i g. Of immediate s no is the s a his pupil , Shu k mo t f ithful to traditions : of him no biographical informa nhas een a ne and s e ens tio b obt i d , good p cim ar ll h of his work e rare. But of a t e arti sts who owed their first discipline to the instruc tionsof Shunsho Katsugawa S hunro is the one who has conferred most fame on his as e the e aét ea n his m t r, by v ry of br ki g from a ns S hunrO is a e seen tr ditio . r r ly as a sig na e a - n I the tur to colour pri t ; but W , name adopted by him after Ms declaration n e en ene has a e e a e n of i d p d c , tr v ll d f rth r i to the world thanany other inall the art of a an J p . the er s Gakutei is efe e Of oth pupil , r rr d to elsewhere : Shunmandesigned surimono a set of studies of flowers by him made for this purpose are of very high merit ; ‘ S hin ei a s a e Kintokusai e y , l o c ll d , who di d in1 8 1 9 at the age d fifty- eight ; S hunyei S hunO S hunkiu S hunkO and n all j , , Shu ki ,

“ ’ IN Ar i a n n B G. t st c a No. co ta ns a oo i J p , 9, i g d ex ample. SH UNC H O

PORTRAIT O F A - IYA WASEN O G K .

H R S H SH O S A UNOBU, UN , AND PUPIL . 37

f In e ollowed closely the styl of their master. W e e e at a - n r produc p . 34 colour pri t by the a e ana t en a e inone Of the l tt r , c or g g d Character- dances occasionally givenonthe a ans a e n e e s . Is a s J p t g It good compo itio , but does not ri se to a very high dramatic e e l v l . Inthi s place we S hould perhaps mention Katsu awa S hunChO a u his g , who , ltho gh school - name would seem to suggest the as e s S hunshO s ra e be m t r hip of , hould th r asse Ki ona a H is ea cl d with y g . rly work ns s e Of a n b oa shee s the sub co i t d d i ty r d t , eCts es e a s enes n s j p ci lly outdoor c , pic ic , pro me a n he e h n es a d t e . a e d , lik L t r , modi fied his style somewhat in the directionof the anne a a o a u he ne e m r of Ut m r , ltho gh v r ’ a e e e s C ara eri i quite dopt d th latt r h ét st cs. H is work canalways be recognized by t he l r h r h ca ig ap ic Cha acter of the outlines. T ey have all the appearance Of having been dashed Off with a v ery instinct Of accuracy b a as e O f the n H is l u s are i n e . y m t r p co o r ,

e - rese e s e imens s n ua ure w ll p rv d p c , i g l rly p and es inthe i na Of i s at n fr h , or gi l our llu tr io a 6 the s a e a s e effe t t p . 3 comb h v ubtl c Of se - ans a en h is unha i mi tr p r cy w ich , pp ly , I th d n s i n quite lost n e rep ro uétio . Thi pr t e esens AO- a asen a a r pr t giy Kw , popul r beauty Of the day ; the mark under the ’ a s s s na e is a Of the s e rti t ig tur th t publi h r,

- e Tsuru ya of Y do. S hunchO worked after about 1 780 ; our 8 ES E S R 3 JAPAN ILLU T ATION . illustration should perhaps belong to the

- . H period 1 79o l 8oo. e illustrated Kusa z OslIi a n e e es S a i s z e th (popul r ov l tt , m ll ni , wi

l n n - t and s a o the sa e a e. b ext i lu tr tio , m p g ) e t een1 800 and 1 820 and a e a sa s w ft rw rds, y fess An e s n a e u t he k o— é Pro or d r o , g v p U iy y h s n st e and an e i a e S hunken. yl , ch g d m to st n in1 2 H e was ill liv i 8 1 . ats awas The last Of the . ug who demands e e ne is Katsu awa S huntei a r f re c g , pi il of S hun ei a s a e S hOkOsai and a su y , l o c ll d K t - na ana i . H e was a ea invalid a d mi K gr t , . n a e but few ns ere s ed m d pri t , which w i su for th s the os a e e Murata a. m t p rt by publi h r - y - 2 nd in H e e 6 . 1 800 0 a a nt o liv d , , dditio o - s a n d e a s ee s b ok illu tr tio , pro uc d bro d h t of n es and na n s th e . e e e i t r t origi lity Amo g th , most notable are legendary or historical ' scenes executed ns e a e a a , with co id r bl dr m tic e and ne ene a in a a ac forc , pri t d g r lly Ch r teristic r s e e a s colou ch m , of which gr y , ns and e sare the a n ns ee e . , y llow pr v ili g ti t

' a 8 is a n a he illustration t p . 3 portio of twossheet print representing H eida Yegara n h i s ma killing a fiery serpe t . S unte al o de a ts Of fa s es e s se i us portr i mou wr tl r , who cur o Over- development of muscle is treated by him with perhaps less apparent caricature an an the a e a s s h tei th by y of l t r rti t . S un s be e onas ins e sense the mu t look d . , om , forerunner of the school of historical artists a a which rose fter 1 830. H is colour is e h a n s and e en his a mor rmo iou r tic t, dr w SH UNTEI

YEGARA HEIDA ILLING A FIERY SERPENT K .

C H APTE R IV.

U MA O TOYO KU N I TA R , , AND Y E I H I S .

IN the hands of Kiyonaga and S hunshO the technique of colour- printing had almost ea its n The n Was r ched ze ith . wood-cutti g equal to the highest demands of the de s ne s the a e e of the ne naine ig r , p l tt pri t r co t d en s all raétical ses ough colour for p purpo , although the tendency for a long while was a s e a n s tow rd furth r multiplic tio of block , and ina sense the s e had a ea be , , tyl lr dy come crystallized— the limitations imposed by the material agreed uponwithincertain

a ne was w r - e ne the bro d li s. It no p o mi ntly e for the a ea ane ea men and tim pp r c of gr t , three of such reputed rank were not found i an n sa a a and To okun. w ti g, Hoku i , Ut m ro , y To the life and work of Hokusai we devote the next Chapter ; for if he was the ne a the e et his co t mpor ry of oth r two, y greatest fame came after theirs had begun ane e a ea and s a e to w , whil gr t vigorou g associated him too Closely with the work of three generations - to permit that he should b justly e identified with that of any one. AM R TOYOKU NI YEIS H I . 1 UT A O , , AND 4

But the case of the other two arti sts is ff e e e e a es in d i erent . Th y w r cont mpor ri v as e as in a e and e es ork , w ll d t , th ir liv av e a e n e CO- e a ns d fi it r l tio hip , from which - a a er e e IIokus i Is almost ltogeth xclud d . e n a a o is s be To b gi with Ut m r , it fir t to sa a he 1 5 Of the a awa fa his id th t Kit g mily , ownna e s e his s u - na es s m Yu uk , t dio m , fir t , Nobu oshi en sa Ki- a H e is y , th Mura ki y sa a e een rnat e the id to h v b bo Y do , but a Of de n a es s uthority M . Go court pl c thi e en at Kawa o e inthe ne Mu v t g y , provi c of h ea 1 In sas Bushiu and Int e . hi or , y r 75 4 ea e he a e ed a n his rly lif c m to Y o , t ki g up es ene T suta- a uz abro the e e r id c with y J , c l brated s e ina se nea the a n publi h r, hou r m i

- entrance to the Yoshiwara. Tsuta ya an e his es ene TOri- a- ChO Ch g d r id c to Abr , a a s a o an n and ere Ut m ro till cc mp yi g him , h , in1 the e - n n s e is sa 797, w ll k ow publi h r id to ’I a i i th have died. Utam ro al so l ved n e s ee s Kifi emon- Cho and a o- ChO S an tr t y , B kr , ChOme na se n nea the d e , fi lly ttli g r Bri g n e Be k i . Utamaro was at first a student of the an Of a n n a e a s K o School p i ti g , but ft rw rd e a T r am k en H is b c me a pupil of o iy a S e iy . ea ns s ed Of o a e rly work co i t p rtr itur , but be devoted himself later inlife almost en tirely to the delineationof the scenes and e s na es O f the s i a a a in p r o g Yo h w r ; lthough ,

E U ta ar P r s 1 u m . a 8 . . DE GO NCO T C 1 R . o i , 9 ‘ D ut it is u u E. E UR GO NCO T B tf . . do b l 2 NE S E S R 4 JAPA ILLU T ATION .

‘ s e a has een n sa he pit of wh t b Commo ly id , made a few pictures both of actors and of scenes of every- day life (Kinsei nishiki O e y e). n of these latter we reproduce in a X e e Ch p . . It r pr sents street jugglersoutside ’ the se a a o onNew ea s Da hou of d imy Y r y , and is from a series of five piéturesof enter tainments on a es a one ea th t f tiv l , for ch of

‘ the ass s s e cl e of oci ty . Inthe course of his life he certainly paid ' one s a asa e e he is men vi it to N g ki , wh r tioned in conneétion h a a a s wit loc l rti t , Selcho ; it is also recorded that he sold many colour- prints to the Dutch merchants ’ see n t n a a s s a ns ( I troduc io ). Ut m ro illu tr tio s e s and fish e e a e a s of bird , flow r , w r m d tow rd the end h f of is li e. Utamaro was an illiterate man— skilful a e ee but the en e a sene to d gr , with tir b c of self- control which is occasionally found to accompany anextreme development of the a n H a e wa ss a n rtistic se se. e g v y to di ip tio s ane en a his is e s to uch xt t, th t publ h r com e bined to put moral pressure onhim . Th y feared that so profitable a source of business be s em and as has a ea might lo t to th , , lr dy eensa one e a t a e U ta b id , of th m c u lly lodg d a for a n e ea s and as far as m ro umb r of y r , s i in po sible kept him nretirement . Dur g this time hewas induced to educate himself s e e en and the e nTaikoki to om xt t, Y ho . (story of Taiko Hideyoshi) brought much ' ’ a a s s custom to his publisher. Ut m ro mo t

UTAM ARO

P R RAIT F A O T O WOMA N .

E E R JAPAN S ILLUST ATION .

a and Ki ona a es e a the a e . , y g , p ci lly l tt r H e a s a ffe en e a e and one dopt di r t typ of f c , e en sa e nes s e a might v y , r fi om wh t ; but

’ there canbe no doubt as to the relationship e d urt ' menio s of their styl s. M . e Gonco t n a n e e e . H a as a e een pri t b li v d by M O hi to h v b executed inthe studio of iyonaga between 1 0 and 1 and we a e se 77 775 , h v tho high authorities for the statement that it would be ss e the s na e impo ibl , but for ig tur , to

was t K a. s cide that it no by iyonag him elf. There has beensome doubt as to the exist ence of anartist who succeeded Utamaro and used his name ; but this faét may now be a e e es n. S huncho cc pt d without qu tio , se na e ma a s b e ea a a who m y l o r d H rum chi , was a fellow- student of Utamaro and Shiko un Tori ama S eki en he is not der y y , but to

‘ nfused with the great artist of that

‘ na - s a s a e h has fre me ( ee p . mi t k whic ‘ a e uently b eenmade. WhenUtam ro di d h unchb a e his w and the m rri d idow, from house ih - Bakro- Cho continued to work under

‘ e name his Old an n not n th of comp io , o ly c e in his n nshe es ns ompl t g u fi i d d ig , but ’ i ssuing new O nes with the dead artist s S na e s u e a 1 808 ig tur . Thi occ rr d from bout 1 20 H e a e a s the na e to 8 , ft rw rd took m of rO Kitagawa TetsUgO . This q uestionof prints by other arti sts bearing the Signature of Utamaro will be l s r I a one t . come a ve y mport nt for col ec or . The. instance we have just quoted was KIKU MARO

LA Y T TH T A ERE N D A E E C MO Y.

R TOYOKUNI AND Y EIS H I . UTAMA O, , 45 al e at eas a a e s s n r ady, l t , m tt r of u picio ; it mu st now be reckoned with as a faét . And thereto may be added the disquieting in f a n m a a anese s e a at orm tio fro J p ourc , th t ’ the height of Utamaro s local popularity k ni and nsen a a both Toyo u I . Shu Ch rit bly did their best to sati sfy the demands Of the ’ public by Copying the other arti st s subjeéts na e ese ns e e s and sig tur . Th pri t w r publi hed

a fan- a e na e - ichO and a by m k r m d Hori , p a 1 80 peared bout 7. Almost everyone who has studied U ta ’ maro s work will have noticed the great ne al t es inthe ins att e i qu i i pr t ribut d to him , especially inthose whose large variety Of s o s the a enss of h a colour pr claim l t e t eir d te. There is very little doubt that these faéts h e lana nof th iffi t carry t e xp tio e d cul y . For the spurious examples display not t he con si stent deterioration to which any artist be a le a s n e s an in Of might li b , but mi u d r t d g the design and carelessness Of d rawing os t e a o n to n e s Th which p i iv ly m u t blu d r . e author has recently had anoppo rtunity of ins eétin some r nt s ea in the si p g p i , b r g g nat re Of ta a o and t all his O o s u U m r , wi h bvi u anne s s w t a e U on t e m ri m ri l rg p h m ; but , to e o ne nstane on the ands of the giv i c ly , h central figu re formed so casual a portionof the composition that one would not have been surpri sed at finding three of them of s be e e a instead two . It mu t r m mbered th t a a e at a a a e ea l a Ut m ro di d comp r tiv ly r y ge. E E U RA O JAPAN S ILL ST TI N .

H e scarcely had time— never sufficient appli cation— to trade uponhis popularity to an ea e ten and in ew s wi l g r t x t ; , vi of thi , it probably be safe to rej eét from colleétions of his work any of the broadsheets containing

i evidences of weaknéss or. want of originality .

‘ The period with Which we are now dealing saw the rise of . what was to be the most s - ne s the U ta prolific chool of colour pri t r , a a n T h s. It was o e o o aru g w f u d d by y , of we n t e a he e whom k ow but lit l , but th t di d e ween1 80 and 1 8 1 at the a e Of s x b t 4 7, g i ty: 1 nn H . is ra i r . i e. s wo k very re

Five Of Toyoharu5 pupils are mentioned . ‘ Toyohiro (Ichirytisat) was famous as a " book illu strator as w ell as a colour “ ne W at : . 6 an a e . e S e pri t r how ( p . 4 ) x mpl

his a s ee s which a has a m vement of bro d h t r o and originality fquite i unex peéted ; the of w ind onthe foliage and draperies is finely

n e T ohiro died in- 1 828 W e o . re d r d . y e a ass e H ichiz emon a s m y p ov r , book illu

‘ rat To ohisa who s m a e ns inthe t or ; y , d pri t : st l of Yeisan but e ea s . in y e , with mor r li m the e ess n the fa es and To o maru xpr io of c , y ,

- W . n n is. no n in de of hom othi g k w , or r to ' ’ c ns der fIIrther. de a To oharus o i , without l y, y

f and ea es U ta awa To okuni. fi th gr t t pupil , g y Toyokuni was the son Of Kurahashi GorObei e inthe i a a te , who liv d Sh b qu r r of

" A O NDERS N . ‘ ANDER ON Br t s Museum Cata o ue ves S ( i i h l g , p. gi a st of his est wor s li b k . TOYOH IRO

A W IN Y D DAY.

perhaps one of the finest exammes remain n m a s n e ween I g . A co p ri o b t two great contemporary arti sts is not a new device of i s ne e e ess l a l crit ci m , but v rth l wil prob b y n nue be a fa e one so se co ti to vourit , u ful is it to use each in turn as a foil to the s efe s th show up merit or d ct of e other. The case of Utamaro and Toyokuni is one which absolutely demanm h‘ a p roce Th a n we dure. e ccou t have givenof the two artists will have hinted that there was a e e a e a e weenthe men d lib r t riv lry b t two , for when Toyokuni illustrated the story the e s C hanand ChO emon of two lov r , y , by the portraitsof the famous Ichikawa Yawoz o and e a t s a a at ne ea oth r c or , Ut m ro o c d lt with the same subj ect ina purely romantic s e en e e n the a a ele tyl , tir ly xcludi g dr m tic

ment . And whenToyokuni i ssued a book e e the e a es the s a a d vot d to Y do l di of Yo hiw r , his rival delayed but a little to attempt the sa e e e in exa t the sa e anne m th m c ly m m r , but with his own ideal and entirely less n humantreatme t . Infaét a is s the iffe ene e een , th t ju t d r c b tw h a ns a a are r them . T e cre tio of Ut m ro pue abstraétions a n erfeét ' in sen en , d i ty, p tim t, he e n en an ea v e t mere r fi em t of id l ic . Toyo kuni never loses sight of the humanity of

is s s The the s a h . h ubject . pomp of t ge as never been portrayed with such strength n ensi as If his a d int ty by him . figures s e one a sense exa e a n it trik with of gg r tio ,

MARO TOYOKUNI AND YE IS H I . UTA , , 49

u a t h ir ea s Th im b t e o t e li . e a i s. tribut r m of the aétor is to condense the emotions of a e e nthe s a e a few n es lif tim withi p c of mi ut , and Toyokuni alone has succeeded in pic turing them as they should instage- reality appear . Another element must be takeninto con siderationinestimating the relative great e n i ness of th se me . Wh le H oku sai and Toyokuni numbered their pupils by the s e and e e a e e e s ee n cor , w r imit t d by v ry ucc di g ene a n as n as the a e a ned g r tio lo g cr ft r m i , those of Utamaro can be counted onthe

fingers of one hand . H e was a result p raétically final ; each Of the others an nf r th a s inspiratio o e ge to come . The i s To okuni we e e an , pup l of y r v ry m y , and may be generally knownby the prefix n ado d h i Ku i which they pte . T ere s no space inthe present work to deal with them ser iatim n ee s be a n e e ; i d d , it mu t ck owl dg d that the hand of the master lies heavy on e and a t few e e t ons e th m , th t wi h xc p i th y s a t le n v a a o a s di pl y li t i di idu lity , lth ugh lmo t n a a a s n a a i i v ri bly plea i g c p b lity . In the first place we have to d eal with one of the worst cases of confusionari sing out Of the similarity of Japanese arti st

na es. To okum s son N ao iro was a m y , g , n n hi a stude t u der s f ther . H e at first a e the na e To oshi e a e dopt d m of y g , but l t r a his a e as nal a s s nn th t of f th r, occ io ly l o ig i g T H is GosOtei oyokuni. work is more akin E 0 ES E R O 5 JAPAN ILLUST ATI N .

a Y i To okun to th t of e senthanthat of y i I . is s r n in ne and o in our It t o g li go d col . ’ GosOtei Toyokum sprints have beenhitherto as e a s at an either hi crib d , lmo t r dom , to s a e To n sa a . f th r or to yokuni I I . (Ku i d ) And

' ' yet it is easy to separate them by the diflerf ‘ ene ins e and s e so t he si a; c tyl , till mor by na e a f tur . For th t of GOSOtei is one o t a most invariable inits form of all the colour n a e s and nee ne e be nfuse pri t m k r , it d v r co d with the quite different caligraphy of the e a s oth r two rti sts who used the signs. Print by GosOtei are not uncommon; our illus tration e e is a surimono , how v r, from , by l — sufficie him ntly rare to be noteworthy. The s and b the n m er mo t prolific , , y u b of his s the s i el n n work , mo t w d y k ow of Toyo ’ ’z kuni s pupils was the arti st who used the signatures U tagawa Kunisada and Toyo n the e n w t e re ku i S co d , with or ithout h p es Ichi Osai GOtOtei KachOrO H is fix y , , or . fa na e was T sunada o o H e was mily m Ch z . n in Bushiu and e ‘at e in bor , liv d Y do, a - idO ne th an As a a e e e e. K mi , r T mm t mpl he was e e e and a ea pupil v ry Cl v r, gr t fa e his mas e To okuni and vourit with t r, y , at the early age of twenty- three published his first illustrated books (Bunkwa 5 : At the same age he alsog ained renownby a a s ee r ra t the fa s a t bro d h t po t i of mou c or,

r m the coll tiono r o eé f M . E ar W F o dg ils n. It will be understood that whennot alluding to

To okuni I . a ua f i w r or fi ure is alwa s se . y , q li yng o d g y u d

M RO TOYOKU NI YE IS H I . 1 UTA A , , AND 5

Na a a U taz emon en a e a fan k mur , gr v d by maker NishimuriyaYohachi— the firstwood nsa a The a er cutter employed by Ku i d . l tt al so studied various styles of designing 1 n an his en H anabusa I kkei comp y with fri d , H anabusa I chio and so the pupil of , took n e Kachoro H e e m 1 86 1 86 a . m of di d 4 or 5 , on the een da the e n fift th y of tw lfth mo th , at the a ane a e se en - nne and was dv c d g of v ty i , buried at Kame- ido mura inthe temple of m i h en e f h l Ko e i. H e ad e t e j joy d li to ful , and i n s e a e at i n a n , pit of r put o for g mbli g and ss a on he e a ne his s the di ip ti , r t i d kill to st a at 0 is end ; for our third illu r tion p . 5 “ ns e T o okuni a e at the e est i crib d y , m d r qu

i n in his sevent - e h s e s e a . of fri d , y ighth y r H e only u sed the name of his master as a a 1 signatu re fter 844. In his younger days he was considered the e a his maste and an his qu l of r, m y of ns of is e o ave fine a es pri t th p ri d h qu liti , although it is hardly possible for us to rank them quite so highly as their model s. ’ But it was Kunisada s fate to see the decline - a h in a an I n his of chromo xylogr p y J p . work every stage of it can be traced — the e ess e fa t the nc ease inthe n e xc iv cili y , i r umb r of blocks u sed and consequent complexity es n and e ness of e e ion the of d ig p tti x cut , ad a nr d t n of ean s gr u l i t o uc io Europ , colour inplace of those of the old traditions : all these are di splayed in a series of prints enormous inbulk— ranging from proximity to the best period nearly to the absolute s A d at the e d all the ld . n o wor t n of it , man s ne a was the till k w wh t good , for print already referred to falls little short of i h s best work . n s a s a To okuni Ku iyo hi , l o pupil of y , was nat e and e in a c at bor Y do , dw lt th t ity Moto anecho Nichiom H e wa th so g e. s e n a ne ess- a e a K i a of pri t r of dr m t ri l , y of o h he w Ky to . W ile as a student e was ass a e a fe - nina oci t d with llow pupil , Ku o , who is said to have influenced his landscape H is ns t a work . pri t were no appreci ted at s his ne a es and he s e fir t by co t mpor ri , publi h d several illustrated books between1 804 and

1 8 1 7. Inthe following decade he achieved success by meansof three- sheet prints issued H i ashi a a s e and a s e s by g y D i uk , l o by vi w of the a a en n a a a hifi e e t S os . w t rf ll of B t , Oy m , As an e s an she s outcom of thi , m y publi r a s ns H n g ve him commi sio . e the devoted himself to dramatic scenes and portraits of a t s a e e a in c or , which h v much m rit , lthough the great stress of competition he again e a n e a e n n In fail d to obt i imm di te r cog itio . de e e ss e a ine his or r to d v lop , if po ibl , l of own he now a e his a en n a s , g v tt tio to portr it a s and i ar s enes ublishin of w rrior , m lit y c , p a n e s the S iukoden hundrcg mo g oth r , or and ne e e H a s s eight Chi se h ro s. e l o illu ’ trated many kusag oslz z inthe style of Shun ei H e in1 86 1 n h da . e o t e y di d , fourth y of the n and was ue at sakusa A . third mo th , b ri d

APANE S E I R I 54 J LLUST AT ON .

Of Kuniyoshi personally nothing is re e e e a he a s e a fe of cord d , xc pt th t l o liv d li ” d ss a n and was a e o hi a i ip tio t ttoo d n s b ck . 1 5 a e Plate VI . good xample of his work ; an uncommon but charming scheme of colour occasionally used al so by Kuni sada and Yeisen: apple- greenis sometimes em ployed incombinat1 onwith the blues and ta red. U gawa Kuniyoshi also used the sig ‘ na es Ichi tisai and Cho- oro a a s tur y , but lw y in na n his ownna e combi tio with m . the e a nn a s s s s Of r m i i g rti t of thi chool , Kuniyasu ( lpposai Yasugoro) may be men n tio ed . H e was n at e a e his bor Y do , m d first colour- print— a portrait of the actor Utaz emon inthe a Tadanobu , pl y Michi ” — a the ea 1 8 1 H e an e uki bout y r 7. ch g d his na e N s a a Yasunobu a e m to i hik w , but ft r wards abandoned it for the former si na ture . H e died inthe period Tempo (1 30 aged only thirt H is work is never ’ inferior to the best 0 Kunisada s or of the e s To okuni and ’ has s a e oth r pupil of y , c rc ly t e d the a e a r s ye r ceive ppr ci tionit me it . ‘ It will be sufficient to merely mention th na es f llow r of T kuni e m of other o e s oyo . The ea es and s e e Kunimasa n rli t be t w r , Ku i

‘ i s and Kunihisa the e s n m t u , ; of oth r , Ku i a Kunimaro Kunimaru Kuniteru chik , , , , Kunisato Kunitora Kunitsuna and n , , Ku i are the h e e a hese a tomi c i f. S ver l of t re e er ed at en ina e a e e a . r f r ,to mor l gth l t r ch pt r The us ra ns t 2 and are ill t tio a pp . 5 54 from KUNIYASU

GIRL N IND Y D Y O A W A .

56 JAPAN ES E ILLUSTRATION .

a n s onKininden book by Ku iyo hi , Nipp — fa s men o f a an— and are es e mou J p , p ll in s cia y teresting. in connectionwith thi c a e e n e a s se eral h pt r, for th y i clud portr it of v of the a s s ea with h rein In a on rti t d lt e . th t ‘ h n a th . t e ma at is s e p 5 3 old work Hoku i ,

e his en a n the ea n e s . oth r fri d B ki , gr t ov li t

n . are se Keisai Yeisen ha a O p 55 tho of , c r c teristic ll e ed in n n To okuni a y mploy dri ki g, y the fan and the a s se n with , rti t him lf, Ku i s sea e es his a the yo hi , t d mod tly with b ck to be e hold r. Ana s t s e e n s e rti t of hi p riod , who b lo g mor properly to the school of KiyOnobuand his f l e s ma ne e e s a a ma e o low r , y v rth les , s tt r of convenience, be dealt M was the nom de f ines“ of Fujiwara Tomi ‘ a na e wh1 ch would chi , m was sa urai n m ea e. of li g H . cho and no War i in e Ho j 1 shitash Y do. At ‘ s !he s e n er an Y is n who was fir t tudi d u d K o e e ,

' als a e Bunr fisai b t a e wa s a e o c ll d y , u ft r rd lli d

himself to the Torn School (Chap . ’ nd a e a na e Chobunsai ex a dopt d m , , which e s a e l e he a s pr s ed both influences. Inl t r if l o ’ a e n e th s sa Yeishi s c m u d r e pell of Hoku i . ' ins are ra e and of H is pr t r , much me s are ene a ‘ se K a a thod g r lly tho of g , the n is e i the but colouri g mor viv d , H e treatment generally more elaborate.

Not to be c nfused w t Keisai Yeisenthe desi ner o i h , g

' bb is ant er rea n of Torii C o h di g . YEISH I

A PROMENADE.

E I R IO JAPANES LLUST AT N . merit— apart from such ualities of rareness or eccentricity as appea to - the colleétor will easily gain. little e x ’ ense a n s e ens s a s s p , by cquiri g p cim of thi rti t - e work . The illustrationis from a two sh et ’ a p nel p icture inthe author s possession. To this School belongs also the great a s o Who e a s— a os s asses rti t Shik , qu l lm t urp — Utamaro inhis ownmethods. W e can i e no n ma i nas his e re g v i for t o to lif , but at 60 ane am e s produce p . x pl which hould show how graceful and tender his work

could be. YEIZAN

AI I" D PORTR T O A LA Y.

Inthe Ca e usa dese ed the s of Hok i , rv ly best known in Europe of the Japanese a s s the a h a rti t of Popul r Sc ool , much l bour has een e en e ess s nse b xp d d b M r . Go , -l ashi n and An erson incolleétin y , Bi g, , g aIlIl d arrangingg materials for his biography and na n d n as . e u fi lly M Edmo d Go co rt, a a has e a s a with Ut m ro , produc d mo t ch rm in ea se a and s a onthe g tr ti , critic l hi toric l , ea a s and his a an n gr t rti t work , ccomp yi g it with the most complete bibliography of the latter yet made. This represents the sum total of the informationat present available and 1 5 the general authority for the follow m account g.1 okusai was nat ed inthe no bor Y o , Ho j a e on the th a 1 60 — the qu rt r, s M rch , 7 eighteenth day of the first month of the tenth ea H oreki a n the a anese y r of , ccordi g to J p n H e was the son method of chro ology . third of anartist— or more correétly arti san— of n n n fess nna e a a a u k ow pro io , m d K w mur Ichi ro emon a s a e Bunsei and as a y , l o c ll d , child was na T kitaro the a e e o . m d At g of four , he was a e a - a e aka dopt d by mirror m k r, N i a ssa sa be the a a j w I i , id to of Tokug w fa ea e a e s a e mily, whom rli r biogr ph r h v r ll h s W e s a ene a y styled i father. hil till n sa s . de he was e e y M Go court, mploy d ina - sho at e e e he his book Y do , wh r did wo suc eness and sc n a . he rk with idl or , th t nthe d w as show oor.

nc u 8v0 P s 1 H okousai. Par E. de rt. . ar 8 6. Go o i , 9 H S I 1 1 1 5 P PI OKU A AND U LS .

s e en e e see s a e Thi mploym t , how v r, m to h v aroused a passion for literary art ; and in the ea s 1 1 he was ea nn the y r 773 , 774, l r i g a a w - en a e and in 1 cr ft of ood gr v r, 775 , n e the na e Tetsuz o he cut the u d r m of , s a n e an o last six block for ov l by S ch . This a nhe e n the ea 1 8 occup tio follow d u til y r 77 , when he entered the studio of a famous master to whom reference has already been a e Katsu awa ns o a n inac m d , g Shu h , t ki g , cordance w h the e a n s the it pr v ili g cu tom , en- na e Katsu awa no stud t m of g Shu r . While he remained under the tutelage ns o sa see s a e n of Shu h , Hoku i m to h v pri ci all e e se s a n p y d vot d him lf to book illu tr tio , inseveral instances furnishing the literary H e a s ss e se matter himself. l o i u d veral broad s ee s as et n no n a n of the h t , y givi g i dic tio style which he afterwards wielded with such ma r The es are a ste y . figur gr cefully drawn inthe n ent na anne and e e old co v io l m r, w r no e on use the an ase doubt look d , to c t phr ’ ownda as s en s of our y , good tud t work . But in 1 786 Hoku sai achieved a revolution in mse n e s anes s hi lf, u d r circum t c curiou ly e n H e redolent of mod r ity . designed a s e for a rintseller the a e in po t r p , which l tt r, the e and his ea e e in prid joy of h rt , xhibit d a e s his s a rich fr m out ide hop . There it was beheld by a fellow- student who straight ’ ' wa our sauver 1 71 0mm ” de l atelz er y , p " Shunsko e e e s a s e the , x cut d umm ry ju tic by s e ess ea n wn Th impl proc of t ri g it do . e ES E I S R I JAPAN LLU T AT ON . d s e wh1 ch e d e sa f m i put , follow d rov Hoku i ro h H e an e hi S i a t e studio . ch g d s ture to that of Mu ura to signify that enceforth he was in ependent of all schools ; and therewith adopted for. the first time the originality of style which he afterwards so effe i e e e e ct v ly d v lop d . The next few years of his life were e e a n s a n a d d vot d m i ly to book illu tr tio , n . e en a s his s na es an n v to uthor hip , ig tur ch gi g from time to time ina manner most confus de in the o e t . n rt as . h g to c ll c or M Go cou , h e e a a e e inhis and ow v r, t bul t d th m book , thus furnished a rough guide to the chrono his s men n the logy of work . Thu , to tio es n wn his noms de mceau he sed b t k o of p , u th e name no 1 8 to 1 86 the Shu r from 77 7 , compositions bearing it bein ina refined anne ase on a hunsho m r, b d th t of , but more inaccordance with that of the little n n a s o the m s a e k ow rti t Shik , o t gr c ful of ne f : all the e es s o his e. In figur d igz > r tim 1 795 the signature H ishikawa Sori 1 5 first met and se the with , u d with or without a 1 800 In 1 he had prefix till bout . 794 illustrated a novel under the name of Toki taro Kako, and the Signature also appears at the foot of his prose work about 1 800

1 80 . 6 we s ra e a scene 4. At p 4 illu t t f the a the - se en onn rom pl y of Forty v R i , i signed simply Kako. This s ascribed by

. d n 1 8 at eas f M e Go court to 79 l t, but rom the style one would be inclined to date it

H I 11 1 P P1 OKUSA AND 5 U LS .

e en a e a Th s na H sa . e e o v f rth r b ck ig tur ku i , invarious combinations seems to appear s m 1 6 and was a a en n n e fir t 79 , pp r tly co ti u d 1 8 enhe a e the se n till 34, wh dopt d p udo ym an ten san and a s the s M i ( thou d), l o ymbol ge smash ed ese e e se his ). Th w r u d till ea In a on ma he d th . ddition e y mention t names Katsushika Taito ; Tamekaz u or I- itsu— a S ignature oftenerroneously read as a e- S hinsai se in 1 - 1 800 T m ichi ; , u d 799 and en en a a o e an1 th giv to f v urit pupil , H j ; “ and the various poetical epithets Old M an ” “ mad with pa1 nt1 ng Old M an mad with

the n and the e . moo , lik In 1 793 appeared the earliest known sur z mono sa s ne a of Hoku i , ig d Mugur n The es n is a a n Shu ro . d ig th t of you g a e - se e sea e onthe e Se es w t r ll r , t d yok which rv a his o s nea a i e e furnitu1 e to c rry p t , r p c of s and ans was ss e as an with pot p . It i u d invitationticket to a concert onthe occasion of a change of name by the musicianToki M ita u wazu oz y . About the end of the seventeenth century we have an instance of the appreciati on s n the me ans the how by Dutch rch t , of a an e a the e J p es popular rt of p riod . A

an e e e sa s . de n Dutchm , b li v d , y M Go court to a e een a a n sbert e e m s h v b C pt i I H mm l , com i ' sioned Hoku sai to execute two makz mono

“ I ave used the w r mad but in n a rare h o d , o ly sense es it c nve the meann ma in ve The do o y i g dly lo . u t r — s m c et e . or: ex res es it b E. Frenchf p h F. S . 6 PA ES E I US R ION 4 JA N LL T AT .

Showin the various incidents from birth ea a a anese manand oman to d t of J p w , respeétivel The price was ane quivalent a 1 0 sterhn see s must of bout 5 g , which m , it be emarke n na e! a e ared r d , i ordi t l rg comp with the remunerationwe now other colour-é print designers to have received : and a doctor attached to the ship also ordered a du licate copy for himself. pl okusai is said “ to have devoted all his knowledge and Skill to the prepara tion of these paintings ; but when they Were delivered the doétor endeavoured to ea nthe e sa n a the rk b t dow pric , yi g th t wo in his rolls was unequal to that inthose a n Althou the e m de for the captai . h whol the ne was es a e e and of mo y for t ll d y d bt , the direst poverty seemed to await his fa H sa e se e wa sa in mily, oku i r fu d to giv y , y g, in e the e a es his fe ha r ply to r pro ch of wi , t t he preferred misery to humiliation. How e e the a a n ea n the affa v r , c pt i , h ri g of ir, him self purchased the other copy . ese a n n s now be of' Th p i ti g , which would a s nest a e a ue a e ne e een lmo t i im bl v l , h v v r b a inth a e . nse has a e se e tr c d . M Go m d rch s e a e the seu at the a ue mo t lik ly pl c , mu m H g , but without effect . de n a rec a n the ob ec M . Go court, pp i ti g j tionto the difficulty as to the price said to ‘ n aid for the s es a e e have bee roll , quot l tt r usa in1 8 6 a addressed y Hok i , 3 , to pub lisher ; from which it appears that his rate at

H K I I 6 O USA AND 11 1 5 PUP LS . 5

that time for designs for book illustration w as about five or six shillings each . In 1 799 Hokusai publi shed one of the es n nof his s an s a es the b t k ow book of l d c p , “ ” “ Azuma Asobi ( Walk around the Capital the as e s was of E t , Y do) . Thi book first i ssued as one volume in black and e n and in s es are a e whit o ly , thi form copi r r and valuable ; but in1 802 it reappeared in ee es in the e thr volum colour. From form r

we scleét for illustration(p . 67) a view of the

s the o se e Tsuta- a ub hop of b ok ll r, y , who p lished a a o sa and man for Ut m ro , H ku i , y of

t - r n H is a he a s s. colour p i t rti t m rk , which is nen inthe t e be e promi t pic ur , will r cog niz d an he e onm y of the broad s ets. Another well - knownand hi storically in teresting subj ect in thi s book is a picture of the exterior of the lodging of the Dutch menat a asa Th i n s e a e N g ki . e qui itiv ttitud of the passers- by who are inspecting such of the despi sed foreigners as can be seen withinthe lattice i s portrayed with curious and s m ubtle hu our . P a e e e 1 n s is l t VI I . , r produc d colour , from the S umida awa Rio anIchiran a s m a g g , i il r c e t on e s on the a e oll c i of vi w Sumid riv r, m i 1 806 publi shed inthree volu es n . Of the landscapes which Hoku sai began to i ssue about this time we canonly enu merate a series of eight views of Lake B a five se s the e s the Tokaido iw , t of vi w of ,

Inthe colleétionof M r C ar es me. . h l Hol F E E I JAPAN S LLUSTRATION . and views of the Tamagawa and Sumida a H is e e e er gaw . e r lat d to hav learned p s eétive in1 6 m ana s a okan p 79 fro rti t , Shib K , who had received instruétion thereinfrom the Dutch ; and inthi s year he certainly i ssued a set of land scapes di splaying traces of n ene and s ne inthe ean Dutch i flu c , ig d Europ manne — na — ns ea as s a r horizo t lly i t d of u u l . 1 80 1 82 0 or e ea s From 5 to , th r bout , sa s a e an n e s a on Hoku i illu tr t d m y ov l , m g s h a a n them ome by t e f mous writer B ki . s a 68 From one of the e our illustration t p . is a en as ane am e o his e t k , x pl f m thod of

working at the time . H is connectionwith ' a n na e e a s the reatest B ki origi t d , p rh p , g of s The es s e f r ese his work . d ign mad o th novel s had such success as to arouse the ea s the a a ne a j lou y of uthor, who compl i d th t the illu strations were not always inaccord th e s e ance with e t xt . Out of thi s di put quarrel s arose which resulted in an open ea : sa a n the a e but br ch Hoku i dmitti g ch rg , claiming that the merit of his drawings was such as to require the alterationof the text to suit the illustrations rather than the

‘ sa e e ne the in e e se. r v r Hoku i d t rmi d , with dependence of charaéter di splayed through his e a he ene s an out lif , th t would h c forth t d a se In1 8 1 2 h s e or f ll by him lf. e publi h d the s me t e a s an a fir t volu of h f mou M gw , ’ the raisond étre of which is perhaps best ex a ne a efa e ans ans pl i d by pr c by H hu , tr ' a a t n efle lated by M . H y shi to he followi g ét :

H OKUSAI AND H IS PUPI LS .

sa the a ne so e a r na Hoku i , p i t r of xtr o di ry a a en a te a n a e e 1 nthe es t l t , f r h vi g tr v ll d W t , has sta e in i a a and ere y d our c ty (N goy ), th he has made the acquaintance of our friend Bokusen had ener a ne se dis , t t i d him lf by ss n the s e t a n cu i g with him ubj c of dr wi g , and i n ese n ersa i ns has e e e , th co v t o , x cut d w e s e more than 300 designs. Now wi h d that these l essons should be made profitable to all se ea n ra n and i t has tho who l r d wi g , een e e r n e in a o e b d cid d to p i t th m v lum , and when w e asked H oku sai what title s be en e eto he sai s hould giv th r , d imply ‘ ’ an a to i we a e a e his M gw , wh ch h v dd d The e has een ans a e name . titl b tr l t d

Drawing as it comes spontaneou sly . It is difficult to speak with due app recia tion of the e ncyc10pze dic work of geniu s d i n e s the which thus ha ts o rigi . It cov r e n of anese e and e end whol grou d Jap lif l g , a d an aft a o e— en art n h dicr . E ch v lum oft each page— is teeming with studi es ; each study i nitself a masterpi ece which would a I ts suc make the reputationof any rti st . t in a n r cess was immedia e J pa . It p ocured the a st e ena on his own e e the rti , v m g p opl , fame of a prophet and founded a school at t he e o se w H okutc i B okusen v ry ut t , of hich (the friend who happily suggested the work)

- h a d onc and un w o s s . e o Hoku ( , y M G urt , became the professor of architeéture of the I master were the first pupil s. nthe second volume ( 1 8 1 4) Hokusai had assi stance in E E I S R IO JAPAN S LLU T AT N .

e a n the a n s a n pr p ri g dr wi g for public tio , of H i Bokus n Todo a okke as e as e . y , w ll of The e was ss e in1 8 1 the third volum i u d 5 , ne five in 1 8 1 6 the nn and en in xt , i th t th 1 8 1 en the se es was a a ent in 9 , wh ri pp r ly n n e in1 8 e e be . e e , t d d . to co clud d How v r 34 such pressure was brought to bear onthe ar s a he ss e m e es in ti t , th t i u d two or volum , n s The no way i ferior to the earlier et . thir ’ teenth was ss e a e H okusai s ea i u d , ft r d th , in1 8 and a een so a e as 1 8 49 , fourt th l t 75 , n th as compiled from drawi gs l eft by e m ter. Yet another was publi shed in 1 878 with a similar claim ; but most of the drawings of any value therein had already been published in a volume entitled Hokusai

Gwakyo. A p retty tale is told of the fame this pub li i n cat o brought to the arti st . The Shogun es e a s e en his s and e e d ir d p cim of kill , ord r d him to be brought into his presence— an unheard - of honour at that time for one of the e ass s a an en sa low r cl e of J p . Th Hoku i painted a strip of paper with a wash of n and a n s run e a e i digo , m ki g fowl ov r it , ft r a n e e ee in e e h vi g dipp d th ir f t purpl , produc d a a n s e the e a s a ch rmi g k tch of riv r T t ut , ' ea n onits s ea es the momz z l b ri g bo om l v of y . From 1 823 to 1 829 Hokusai issued his nes set a s ee an s a es the fi t of bro d h t l d c p , - six e s n a se es thirty vi w of Mou t Fuji , ri actually consisting of at least forty- six a d G es a a e se a . e on pl t , c t logu d ri tim by M

2 I 7 JAPANES E LLUSTRATION .

J apanshould devote himself to the picturing. ’ f his c n s a e ea n im os o ou try f ir st f ture ; . a d p sible that he should do other thanmake it a e his ownm st rpiece . In1 834 Hokusai published his Hundred ” e s n a e es a and Vi w of Mou t Fuji , s ri of bl ck e s es in ee mes so e de whit tudi thr volu , w ll ns s and . . cribed reproduced by Mr F V . Dicki that we need do no more thanmentionthe in ‘ work thi s volume. About thi s time Hokusai became seriously embarrassed by reasonof the escapades of the a s Shi enobu had a e his rti t g , who m rri d daughter Omiyo he was compelled to leave e and e a n in e e five ea s Y do r m i xil for y r , during which time he wrote some pathetic

n de n . e e s e at en . l tt r , giv l gth by M Go court en en his e e was at an end Ev wh xil , so a a e his se and all rrow w it d him , for hou the a a e his e was n ccumul t d work of lif bur t , so that of all his property he saved only his brush . H e kept at work evento the end of his

a s. H is ea on 1 1 8 was d y d th April 3th . 49, n a a a The an si gul rly ch r cteri stic . old m he was now eighty- nine — is said to have a e a s in his as ens pr y d lmo t l t mom t , If heaven would give me but another five years I might yet become a great a n ea he ea was the p i ter. How gr t r lly world has hardly yet di scovered I

u aku H i akuke1 or The un re V ews of F g y , H d d i 1 rans et I n n 1 u T c . V . D I o o . b CK NS. L 880. F J , , y F d , H OK KEI

“ ‘ M E FROM TH E OCCUPAT IONS 01 WO N .

E S E I S R IO JAPAN LLU T AT N .

' was a charactenstic attempt at realism ; ut l ntheir hands it S1 mply became a con ' vention n diflerin in e a se , o ly g d t il from tho ea s a The s a nis a en rlier e t bli shed . illu tr tio t k 1 from a book of moral stories called Tea a in n e The a anese ch t our Cou try Hom . J p gentleman who is responsible for this translationof the title has also favou red us with the following summary of the story to l t e which our illustration be ongs. Pic ur e — A e an e and of Suicid rich m rch t di d , his e e a e and e wif , who b c m widow moth r of a - h r - a e a w s ea e one . S e e girl , ill h rt d m rri d a a e - man in se e and ea e with b rb r cr t , tr t d

- the e se e e . the ea e girl v ry v r ly So h d cl rk , was e nes man anne se who v ry ho t , pl d wi ly to drew t he attentionof the Police of th at e suisidin se not ea tim by g him lf, too h vy to kill him self but S lightly safe enough . This a e the a en n and the was c ll d tt tio , widow takenbefore the judge and was sentenced to be drivenaway from her house . And the honest clerk took the property by command he is a n ini en an t e . a d of judg It qu i t c d t , doubtless the moral is convincing to Eastern minds but one wonders what the ill - treated ’ girl thought of the judge s deci sion. akutei a s a n a a- oka G . S ( l o H ru obu I I , d , ‘ and Teiko) is said by Professor Anderson to have beena pupil of Katsugawa Shunsho; d a een a but by M . e Goncourt to h ve b

Inth ct n M r e c e of C ar es me. oll io . h l Hol H O KUBA

I U T T IO N F O M T H E O N E T C E K LL S RA R H S L R .

I ND H I I H OKUSA A S PUP LS .

e a man ave ns a n sa lit r ry whog i pir tio to Hoku i , and afterwards adopted art as hi s profession he a e as e a e e ma under t l tt r m t r. Wh t v r y be the a t is n ena e a his f c , it u d i bl th t work ’ shows H okusai s influence to a noticeabl e e en a is o ne w e xt t , lthough it c mbi d ith mor independence thancommonamong his con temporari es Gakutei an s i o as a es ne r k h gh , b th d ig r

surz mono and as a oo st a o . of , b k illu r t r At 1 we e an e am e rom a no e p . 74 giv x pl f v l us a e him h s a s r ill tr t d by , w ich di pl y th ouzg> h out a vigour of design and accuracy of drawing rare evenamong the best artists of hi s and a 1 a a n s e s o t . 0 cho l , p 4 ch rmi g p ci men of the style by which he is best n n H is ha a ur s re is n k ow . work s c iou p c io is hara te s and s a s a e which c c ri tic , di pl y quit extraordinary feeling for the capabilities of se as in a an wood u d J p .

_W e a e s -ace fo a e erene the , h v r f c to the other u are 1 scussed at gr - inCha ter . 00 1 to w hich t eir k ene a l Beon s For the t e s we wor g r l y l g . o h r , ma en nS hinsai ats s i a Taito a y m tio , K u h k ( u na e a e a Kisaburo to w p pil m d K m y , hom sa av e t s one of his own s na Hoku i g hi , ig ues and ana a a S hi enobu his son t r ), Y g w g , i n- l aw .

Inthe c ecti nof M r ar es me oll o . Ch l Hol . Inthe c ect nof M r r ar sw L ceste m . oll io . ei H orth CHAPTE R VI .

Y E IS E N ‘ , SH U NSEN , AND TH EI R R CONTEM PORA I ES .

O NE of the few mslz z kz -y e makers into whose personality we gain any sati sfactory ns l S S hi e oshi Geniro e e n n i ight g y j , b tt r k ow his si na e H e from g tur , w e an fe n e a a e a s es his b g li u d r f vour bl u pic , father Ikeda Yoshikiyo being anartist of the Kano School— which seems to have been to some extent a connecting link between the classical arts of J apan and the demo a a the - ne — ana cr tic cr ft of colour pri t r uthor , and also a well- knownconnoi sseur of the tea e e n in se an n a n c r mo y , it lf i dic tio of recognized good taste . Inhis early days Yeisenwas well - to- do ; his reputationhas survived evento our day for his piety to his father and mother ; and after their death it is r ecorded that he maintained three s H e a a a e and S s e . w s n e i t r tiv of Y do , at the outset he acquired some literary ’ reputationas anauthor ; thenwith Yeishi s Y ei i as his an n he s e pupil , j , comp io , tudi d e s the n n the m thod of Tosa School of pai ti g . Some three or four years he spent at Omi

ES E I S R IO JAPAN LLU T AT N . on an e e a and was s e e oth r d b uch , di cov r d

' at the end of .it to have evenparted with e em his a e ev ry it of g rm nts. Next he was se a ns at sa a hou d by p tro Ki r zu , but the sa e e a e es s H e r with m d plor bl r ult . e

ne e e . en th tur d to Y do , but k pt op house to e s an n his landl ord . fearin wor t of comp y u til , g for his own e ne s a cr dit, tur d him umm rily , en at out of doors. Th last he reformed ; married a second iwife— the story is silent as to what had become of the first— ‘ an‘ d s ea n se to ha t n t dyi g him lf rd work , wi h o ly s and as na a ses s na assed hort occ io l l p , oo m

A a the . a competency. g in curious inter mixture of strengt h and ea ness was Con , w k s icuous sa n a ne e t e p , for, yi g th t Fortu if t mp d

‘ too long might g o as easily as it had e and a was e e for him com , th t it b tt r . to discharge his patrons thanthat by reason of old age or incapacity they should dis a e he e n e ea e w n ch rg him , d fi it ly c s d orki g and retired to private life (after H is piety had never failed him : the Japanese story- teller relates that under no c1 rcum stanes he 0 n e c did borrow from , or i to d bt his e a ns e s na riends with , r l tio or p r o l . W e have illustrated Yeisen somewhat

H is. an s a e is ef liberally . l d c p work r erred at len th in the a e on a s e t to ch pt r th t ubj c , X is a a and in hapter . lso nexample of a quite original treatment of the decorative label the a s ee ina n se e te of bro d h t , pri t l c d from a Series of scenes from the play of the K EISAI VEISEN

PORTRA IT OF A WOMAN .

S E I S R I JAPANE LLU T AT ON .

a ta na e se s e is s nt a n t i bl , but who tyl di ti c ly ki a Yeisenis Kwasentei Tominob to th t of , u. W as very nearly con e a i Yei sen and inhis re t mpor ry w th , figu subj ect s so nearly resembles the latter that he ma e d s ss n y w ll follow him for i cu io . ’ S hunsens first master was a painter of the nese o n he de Chi School , T ri , from whom i e his ea es ar s - na e S hunrin r v d rli t ti t m of , his ownna e e n S ai iro a i m b i j . L ter nlife he a a e se g S hun ei a n tt ch d him l to y , dopti g at that time the signature by which he is n wn u n the e Bunkwa 1 80 k o . D ri g p riod ( 4 1 he e inthe a a e ed 7) liv d Shib qurt r of Y o , and e e a on e s the en a mploy d , m g oth r , gr ver hiro e a Y amadeiya S anc . Aft rw rds he took the na e and a an nn the m of , b do i g a n - nts e e se m ki g of colour pri , d vot d him lf

to pottery painting . ’ S landscape we have dealt with re : his e s e ts as has een figur ubj c , b sa are es a a e se id , b t comp r bl with tho of Yeisen he are an n e en r . T y , if ythi g, v mo e ’ ornate— the patternof the ladies robes more en a a sumptuou s. Shuns m de number of a e s e ns ns s n the l rg iz pri t , co i ti g of two of sheets of ordinary proportionjoined end a s ns ea as s a at the S e in w y , i t d of, u u l , id , le a t s a order to comp te pic ure. Thi pr ctice

a se an. ea e a n kakemono ro out of rli r imit tio of , the n na ane s e es ne lo g, rrow p l om tim pri t d

H e is t us nownas S un o II . to st nus him h k h k , di i g i h n o from the pupil of Shu sh . SH UNSEN

P T IT O F DY OR RA A LA .

E 1 S EN S H S . v , UN EN , ETC

one The ea es s e en from block . rli t p cim of thi s kind of colour- print— so daring and ’ na a e e— is as far as the a t s origi l d vic , u hor e e i ene es a un . xp r c go , by Suzuki H r obu Koriusai and nsho a so se the Shu l u d form , and it grew infavour with Utamaro and his he at a sts a a ne the pupil s. T l er rti b ndo d ' " ne the Iz ac/z z m kak z e a fi r form of (lit r lly, narrow panel pictu re) for the two- sheet a an e en s es e and e rr g m t ju t d crib d , figur d

a 80 . An e e en e a e one t p . xc ll t x mpl of of the old prints— they varied i n length — is ' 2 p r t by the great arti st Shiko already given; Katsugawa S hunz anwas a pupil of Shun ei and we ma e his s e y , , if y judg from tyl , an ea nte o ar for no a un rly co mp r y , cco t of h s e has et trans W e e e e i lif y pired . giv h r a s e en e e s p cim which will , how v r , how a s ne e t is n e e The n th t thi gl c u m rit d . pri t there reproduced represents three ladi es a s n s e e ea of qu lity, di ti gui h d by th ir h d esses a a a and a man dr , with youth , m id , se an a n m e as e e rv t c rryi g u br ll , tog th r with a anand the e ass wom child of low r cl , out side the main ent rance of the famou s e Kwa at As k sa er ea t mple of fi a u . Ov h d is a great lantzrnnwith the announcement a es a and on the one the of ” f tiv l , right of Nz - o the 1 a es the e a n s , m g of D v ki g , who

The term é akemono an n cture is restr cte in , h gi g pi , i d its use to a nt n s and s u never be a e to p i i g , ho ld ppli d co ur- r n lo p i ts. E 1 1 . 1 . RAT 1 N JAPANES UST 0 . keep guard at the outer gate of Buddhist s Th temples to protect them from demon . e ’ s a is a Y i d The publi her s m rk th t of e ju o. na has a o e n n s and is origi l b ut ight pri ti g , ne e an n n i s ane fi ly colour d , u commo c rcum t c being the lavi sh use of block uponblock ; i ns ane the exa na a e n re re for t c , h go l p tt r , p senting the cage inwhich the 1 mage is en . se i s inthe een the ai n s and clo d , gr of r li g , e es the e the s a e a e e ov rli whol of p c bov th m , e h T except that occupi d by t e beams. he a a style closely resembles that of Kiyong . 1 5 e e a a a i s It quit qu l to good work by th t rt t , and the s na e diffi , but for ig tur , could with b n she e e culty e di sti gui d th r from . Katsu awa S huntei an e g , oth r pupil of S hunei was a s a e S hokosai and Kat y , l o c ll d s na i . H e s s a e b00ks but u m fir t illu tr t d , afterwards adopted the style of the Uta a as and es e a To okuni but he g w , p ci lly of y ; is related to have beena great invalid, and na er H is u ble to do v y much work . prints; e e are no eans so a e as se how v r, by m r r tho t a - a a a a of he l st nmed rtist . Th t illustr ted a 8 he a th e t . ea s t e s p 3 b r m rk of publi h r , M a a ur tay . The next illustrationis a designof much s e the ea ness se vigour, by Hiro hig , gr t of who landscape work has somewhat dwarfed the merits of the other broadsheets executed by . The ffe ene the s na e him . di r c of ig tur that found onany of the landsca es i s very n ea e and n a s the ciifli cult otic bl , o ly dd to y of

YE IS E N S H S ETc . , UN EN , the em s sse at en in a e probl , di cu d l gth Ch pt r

. a n s e s the e es . VI I I , to id titi of Hiro hig I an d Hiroshige I I . From its style and colour the example illustrated should not be later indate than 1 820 ea in a t be the , too rly , f c , to by Hiro shige who was living inthe Tokiwacho at e 1 8 6 1 8 es ne Y do from 4 to 49 , who d ig d “ t e n e e s e in 1 8 6 h Hu dr d Vi w of Y do 5 , and di ed on the sixth day of the ninth

- i n in1 8 at the a e S S x . s mo th 59 , g of ixty Thi ’ H iroshi e s Tokaido e e was g , mor ov r, pub lished a e 1 8 at a e enthe s e e ft r 49 , tim wh ch m of colour in use for all broadsheets had n e n a a a an And e e e e . u d rgo r dic l ch g , to r f r a the e s a nwe ma b ck to p riod ofour illu tr tio , y , in as n the ne an s a es cribi g it, with fi r l d c p , to an earlier Hiroshige thanwe yet have e se n e e e a the a ts a pr ci k owl dg of, r c ll f c th t the same man: is said to have possessed ffe en a e na es Munisada four di r t priv t m , , n o Tokitaro iuz eimon and e A d , J , Tokub i ; to have studied the Kano School of painting e e a an nn a To ohiro b for b do i g it for th t of y , e in1 8 28 ha e eena e an who di d ; to v b fir m , and a s a u ler o e san e e l o j g with c lour d d , b for a n coi ur— n n he is sa t ki g up pri ti g , which id to have done late inlzf e : a string of state ments hardly compatible with his alleged age and the exi stence of prints evidently c n m his ast o te porary with those of m er. I believe all detail s after about 1 846 including the age at death — to relate to a N E I R I JAPA ES LLUST AT ON . second Hiroshige ; and the earlier evidences the a s es ne a n e s to rti t who d ig d , mo g oth r , set a e is the . e e from which Pl t VI I r produc d . W e conclude our notice of thi s group of artist s with illustrations of two prints by men as to whose identity there seems ah solutel no e a e e y clu wh t v r , but who both n the e 1 800- 20 belo g to p riod . ’ a at . 8 ea s the s na e S oraku Th t p 4 b r ig tur , and would appear to be the work of a pupil a Th s e t is - of Utam ro . e ubj c a well known eisha is s n n the s a g , who tri gi g m ll drum se in anes the ns n e n a em u d d c , i criptio b i g po a esse h r has not een ddr d to e . It b possible a to identify the se l . ’ R okoku the es ne the rint Of y , d ig r of P e is r produced next inorder. It one of a set representing the different occupations of en and ss e s ma na n wom , po ibly oth r y co t i additional signatures which would give a n as the a s The s e is a o hi t to rti t . tyl th t f ’ Toyokuni s early pupils ; the square seal a ’ s e s n a not en ed the publi h r mo ogr m , id tifi , “ round one the mark of good quality a a ha ee lready lluded to . It s b nsuggested a n was th a a th t this pri t e work of an m teur. the as - name sea s s at all e ens but l t d l how , v t , that it was intended for sale inthe ordinary

ay P4 our c the colour- prints to

r m the c ect no r o f M . r r n F o oll io Arthu Mo ris . r m the co ect on f Mr o o . E ar W s n F o ll i dg il .

YEIS EN S H S ETc . , UN EN ,

devote some space to book illustrators who did not attempt the productionof broad ee s an a e e n sh t to y gre t xt t . W e give here a quaint representationof

1 1 01 11 1 . BY TSUKIO KA SETTEI 1 0 . , 77

e one the e en s Hot i , of S v God of Good ’ ne is es e a ass a e Fortu , who p ci lly oci t d with the e i a virtue of cont ntment . It s from collectionof the works of famous Chinese and a anese a s s e H ok o a J p rti t , copi d by y (

r m the c ect nof Mr Art ur rrison F o oll io . h Mo . I I JAPANE S E LLUSTRAT ON .

e n T sukioka S ettei and u titl of ho our) , p b l m 1 0 ished 77 . To thi s period belong several notable na s Tori ama S eki enTo ofusa me . y y y will be remembered as the master of Utamaro e a s H e se as well as of oth r rtist . him lf was a s en the an tud t of K o School , who n — adopted the pri ciples of the Ukzy o y e. Professor Andersonmentions three 1 mp or an s s a e Tori ama t t book illu tr t d by him , y “ S ekiyen gwafu Gwa- jiki - hen

“ ‘ and Zokku- hiakki a , book of goblins Kitao S higemasa (Kosiusai) is a con ar as na Ina n tem or y of the l t med . dditio to t e illu strationof books of Social Cus s and enes the s a a his tom Sc from Yo hiw r , ” e n as U ikawa a s e es Y ho Y o j , F mou H ro “ of China and Japan and Yehon Koma adake a s ses he g , F mou Hor with t ir Owners are drawnwith power and e a n s W e e t . 2 a e pirit . r produc p 4 Specim his - a a n of chromo xylogr phic work , qu i t ' and rather d i stinctive i n “style It is n 1 n nes f w s h i pri ted low to from e block . S ma a e in 1 8 1 at the a e di d 9 ge of eighty . g 1 sb a e a n t 5 to e rem rk d th t M . de Go court ns e s Ki ona a a e co id r him , with y g , to h v exercised the greatest influence in the for ’ n a a matio of Ut m ro s style. the a e Kitao asan A pupil of l tt r, M obu , executed a series of illustrations of the ea es the s a a ne in B uti of Yo hiw r , pri t d

8 vE 1 S EN S H S m e . , UN EN , 7

s is one the s ea colour , which of mo t b utiful s e e e in a an and in1 0 book v r produc d J p , 77 Tachibana Minko illustrated a valuable seri es of pictures of arti sans engaged in e a s a s S ai wa S hokunin th ir v riou cr ft , g a Barui . The editionof thi s work onl rge paper is a treasure any collector may be proud of. Th e a s o n at 86 is a e x mple h w p . from series of studies of bird s and plants by Bunrei and his s s e at e pupil , publi h d Y do i n1 778 . is the h s ori a n e It , from i t c l poi t of vi w, an en on h a an a import t to m ti S ib Gok , a no e a se he is sa pupil of H ru bu , b c u id to have first int roduced copper- plate engraving n a an ha n ea ne the art r a i to J p , vi g l r d f om r e H i t t a e Dutch esid nt . e s al so repu ed o h v “ beenthe first J apanese w ho made use of the elements of linear perspective inpictorial art ; but his educationwas very im perfect

in1 1 8 - H e died 8 at the ag e of seventy one . Keisai Kitao asa sh a oo i s M yo i , b k llu a r onsi e a le note w as a son tr to of c d r b , of S higemasa and anassociate of H okusai in th H e i e early days of the latter . s one of the leading exponents of a style of illustra tionwhich has scarcely yet received suffici ent n e Th s otic . e method of working of thi School is curiou sly mod ern; the mainout lines are barely indi cated by a few bold s es a ere s es n a e trok , m ugg tio of colour ppli d

AN DERSO N Br t s useum Cata ue . , i i h M log , p. 345 E T T N JAPAN S E 1 LLUS RA 1 0 . inone or two tints obtains what one may perhaps venture to term animpressionistic ff a The s s e ect of absolute re li sm . ymbol ordinarily used by J apanese artists are en tirel a sen and the of s y b t, work thi group a s s is a n the ffe ene of rti t , llowi g for di r c of

IS . BY KITA M S O A AYOSHI 1 . F H , 797

a e a a e n h n so se r c , comp r bl to ot i g clo ly as the cartoons made by S teinlenand Ballu a as s é ri u for Gil Bl Illu tr . Kitao Masayoshi published numerous s e e his ea in1 82 the es book b for d th 4, b t of are en ne ess n e s n which m tio d by Prof or A d r o .

C H INNEN

T EE M E A S R T RC HANT .

90 JAPAN E S E I LLUSTRATION . produce below anexample from the collection s e in1 8 1 at e H O- itsu on publi h d 5 Y do by , ’ the hundredth anniversary of the artist s

ea the se n da the S n . d th , co d y of ixth mo th

D IG FO R E - T ES N C . BY ITS E N LA U H O U A R KOR I . ! R , F

Two supplementary volumes were i ssued in

1 826 .

H O- itsu sa s a was a son , y our uthority , . of the a a a Uta no a and e D imyo , S k i K mi , chi f riest of the Ni shi H ongwanJ 1 temple at p( o a e a n s e all the y to , who , ft r h vi g tudi d ROSE : FROM AN EARLY EIGHTEENTH CENTURY BOTANICAL BOO I IO JAPANES E LLUSTRAT N . ex s in s s n e the n a n i t g chool , u d rtook fou d tio of a new o n a e H e s e _ K ri Ac d my . publi h d ee ect ns the es ns KOrin thr coll io of d ig of , and himself produced many pictures inthe sa e s le l s a el be con m ty , which cou d c rc y sid r d m a r H e e e inferior to those of the ste . a a te s e e e s the a se ttr c d om cl v r pupil to c u , and has succeeded inrescuing fro m com parative oblivionone of the most original and characteristicof the branchesof Japanese t a art H e e in 1 828 at the a e pic ori l . di d , g S x - se en of i ty v .

We have already referred inChapter I . to the designs for kimono published in 1 66 a was ss e 7. A somewhat S imil r book i u d

Naka Ima Taniro at an a in 1 0. by, J j N iw 73 usa Yeisen Kitao asa s and Hok i , , M yo hi , Hiroshige all made similar collections ; we e a es n inthe na ne giv d ig , origi l pri t d n 1 a s i h a On . s t e e . colour , by l tt r p 9 l o , an a an e en ses as a es n rr g m t of ro , d ig

a e - a e an ne es for l cqu r work , will h v i t r t for s ens an nas as is e tud t of bot y, i much it r pro duced from a book published inthe early a the en s e ns e a e e p rt of c tury , om co id r bl tim before that flower is commonly said to have ' een n a an book a b i troduced into J . A th t is notable not only for t e excellence of its designbut al so for the beauty of its colour in is en e Kwakuz enZ a se es g , titl d uko , ri of Korean and Japanese patterns for the

c ect nof r har es me. From the oll io M . C l Hol

1 S S H UNS H E N . YE EN , , ETC

e a n s ea e se ne a d cor tio of oft l th ru d to li rmour. It was compiled and publi shed by Ikeda Y oshinobu in 1 8 and has a ea 45 , lr dy for some years been well u sed by Engli sh e s designr . In n s n a ma be en co clu io , word y giv to the little volumes containing collections of crests and diaper patterns engraved on e a a es ssue a 1 88 1 a m t l pl t , i d bout by Shim

a a a a and t e s. e are b r , Mur k mi , o h r Th y easily procured in London at very low es and S u be ea use de pric , ho ld of gr t to s1gners. CHAPTER VI I . TH E OSAKA SCHOOL AN D LATER

ARTI STS .

ABOUT the beginning of the century there " arose at ka a SC 1 of br t artists

sand e - enne a a te s s with curiou w ll d d ch r c ri tic , easily di stinguishing them from the various styles used by their contemporaries at Yedo nd i s a Kyoto . It s not pos ible to do more thanattempt a theoretical solution. of the causes to which thi s group owes it s origin and e a es inno S in e ns ane p culi riti , for gl i t c hasi t een ss e a n his b po ibl to obt i for t book , any detailed informationas to the lives and r s anes the a s s C ne ne ex ci cum t c of rti t o c r d , e in ns anes so far as the a c pt i t c which , bro d s ee s are affe t not e uS in the h t c ed , do h lp least . These prints were produced during the e 1 820 a 1 860 The p riod from to bout . differences of technique manifested are de s e in a e IX n enence crib d Ch pt r , but for co v i

e I 0. Ther S

OSAKA SCH OOL AND LATER ARTISTS . 95

generally a greater reliance on the me chanical her anthe a t s e s , th r i tic pow r of

iceable feature is anabsence

v iduality . Were these prints without S na e one be n ne to ass ig tur , would i cli d cl them as the work of two or three arti sts

at the most . All the designers seem to have beencompletely enslaved by a uniform s e — it ma e a s a e een a tyl y , p rh p , h v b by a as n e na es s s man loc l f hio . Th ir m ugge t y nd a e n enes a n e ar a , e v ri d i flu c for mo g . th m s sa T o okuni nsa a pupil of Hoku i , y , Ku i d , all I th n s and a e ns o. n e Ku iyo hi , , bov , Shu h last case there is too wide a chronological interv al for the connectionto have beenim at h we S e e . a ns o m di T t hould look to Shu h , e e the na ns at nof the how v r, for origi l i pir io manne is h n n s a e it is r , I t i k , i di put bl ; but a wa his s n o and prob bly by y of pupil , Shu k hun ei I e ha S y . nord r t t a good idea may be formed of the resemblance of the style of the great master to that of a typical Osaka a s we a e in s a e a e an rti t , pl c thi ch pt r, r th r th in a e e to him a e t on a th t d vot d , r produc i of ‘ n ns o Sh be pri t by Shu h , with which ould " compared the succeeding illustration by Ashikuni h t . T e me hod of treatment is a t a en a a n the ffe pr c ic lly id tic l , llowi g for di r ence of S kill and superior refinement of the f T ormer. he latter is a representationof

r m c ect nof the Mr. Art ur rr s F o oll io h Mo i on. r m the co ect nof M r . E ar W s n F o ll io dg il o . 6 ES E I R I 9 JAPAN LLUST AT ON . the a t s as Kichisaburo and two c or , Ar hi Kataoka Niz eyeimon (holding the sword) in th - e play Igago I . It is engraved by io- cho Sh . ne a e a sa Our xt pl t , by pupil of Hoku i , H oku ei has a e the s e and anne y , r th r tyl m r of the early followers of Toyokuni thanthat ’ which the arti st s name would lead us to i S ne S h k ai e e t . s un Os H oku ei xp c It ig d y , and represents the actors Nakamura Uta zemon and Arashi Rikan in a theatrical ’ h e scene . T e publish r s name is Honya

Seihei . The perspective of the receding bridge is a noticeable feature of thi s com position H okuye1 also made use of the S ignatures h ai ai humbai i and e w r S umb s , S te , S kk a o, enS nn his ns S hunkOsai S oft ig i g pri t imply, and ins e ns anes S hunkOsai om i t c , pupil of ns o In a t the S na es onthe Shu h . f c , ig tur Osaka broadsheets all point inthe direction ’ s H ok ai we have suggested . Thu us s other pupils who worked inthi sstyle may usefully be enumerated with the refixes made use ar n ai H o k i e . e e u Os k e of by th m Th y S y , S hunshosai H okucho S hunshosai H oku u , y , H okumei To etsu S hunkOsai H 0 (or g ), kum o S ekkOtei S hunshisai se y ( ), Hoku i h nk ai H h H okkai and S u Os okus u. ( ), 8 is a s n Ashi uki At p . 9 curiou pri t by y , a a e e a se na ns a a e 1 82 v lu bl b c u it co t i d t , 4, and a record of the circumstances under was a e as a s e a a which it m d , p ci l gift to

S I S R IO JAPANE E LLU T AT N .

Space at our command to allude to a few representatives of the large number of n b artists composi g it . Collectors must e warned that among them are to be found followers of several of the more famous mklz iki— e es ne s ea n the na es y d ig r , b ri g m of e e e ess s we ma n as h th ir pr d c or ; y poi t out, i s anes the e s ene of sa a a s ee s t c , xi t c O k bro d h t Signed Shunsho and Shunko (a pupil of okushu an ns s ea H ), which u crupulou d ler might succeed inpalming off as late work

the ea e men. a a of gr t r But , p rt s a a e the s has hi toric l v lu , chool an ns e a e e and m y pri t of r g m rit , which

‘ are worthless éfits artists never rose to . the n ei as e s at eas e dig ity of th r m t r , l t th y sank s The sa a are a s all e t we s O k School , lmo t dir c follo r e nsa a t ' ither of Ku i d or Kuniyoshi . Of he e rints Kunichika are e en form r , by fr qu tly m ar n a et wit . They e pri ci ally the trical s enes an s a es w h ess ns c , or l d c p it proc io , a e n se in s i n g udily colour d , co fu d compo it o , aad altogether inferior to the works of the men e s K hika th y obviou ly imitate. unic

- worked about 1 845 65 . H is family name s a a asoh chi wa Ar k wa Y a . nsa a s a h Ku i da II . l o imit ted t e later style Of his as e and e n s a t e m t r, b lo g to bout h a e e as Kunichika s m p riod . H e used some es t e e BaichOrO and is the sa e tim h pr fix , m with Kunimasa. ASH IYUKI

AN CT A OR .

I OSAKA S CH OOL AND LATER ART STS . 99

More important than either of these ta awa a ahi H e e e e artists is U g S d de. x cut d s e e a lan ith a es not om v ry f ir m b ttl , n an H i o is inharmo iou sly arr ged . s c lour al so better thanthat of the two last- named S adahide in a o a n a s s. rti t , coll b r tio with nsa a Kunitsuna Kuniteru Kunimasa Ku i d , , , , Kunitoshi and Kunitaki s a e a , illu tr t d ’ ” i s e s n the s H akkenden b ch ld v r io of tory , y a n is e ina set of o e anfift B ki , publ h d m r th y es in1 8 H e a s se the four volum 49 . l o u d t i and kurans names Goune Gyo ai. Colour prints by each of the above- named arti sts m n but f s a m o an The are o o e . co m , m ll i p rt c a on was now nea e a s e old tr diti rly xh u t d , and it is only occasi onally that we find a battle- piece or legendary scene either well eno e e e s f en ne es ugh x cut d , or of u fici t i t r t ona o nt of its s e t to e a a cc u ubj c , m rit p rticul r attention. e e and e e e e s do e s H r th r , how v r , uch xi t , an h n e at 1 00 is s d t e pri t reproduc d p . illu trativ e of a story so oftenmet with that we have chosenit as a type of what may be looked on as the best achievement of the is I him i Y shitora a e a s s. c Osa o l t r rti t It by , a s a e KinchOrO one the es s l o c ll d , of b t pupil The s e t is the a of Kuniyoshi . ubj c de th of a Yoshisada one the e es the Nitt , of h ro of great internal war betweenAshikaga and the e Go- a o in the een Emp ror D ig , fourt th cen r the na e the W ar tu y, to which m of of ” the r san e s has n en a Ch y th mum bee g iv . Nitt I JAPANES E I LLUSTRAT ON . had already vainly challenged Ashikaga e e the a e s n e a and to d cid qu rr l by i gl comb t , e he na n the w so sav t tio from mi sery of ar. In onthe second day of the seventh n e a n a mo th , whil m rchi g with bout fifty followers to assist ininvesting a fortress in en he was s en a a e in a Echiz , udd ly tt ck d narrow path in a rice- field near Fukui by a the ene and e se bout of my, xpo d ,

s e s a S e a s. without hi ld , to how r of rrow e ne e e a as he was ne Som o b gg d Nitt , mou t d , ‘ s a is not es e e to e c pe. It my d ir to surviv ’ an a wa h e ns s n s is es ns . my comp io l i , r po n his se he e wa to Whippi g up hor , rod for rd en a e his S a n se the g g with word , m ki g him lf

f r a n a e H i . se a e o e s. s h t rg t hu dr d rch r or , en s at s ee ana e . truck wh full p d by rrow, f ll a on ea n se and s n was Nitt , cl ri g him lf ri i g, hit betweenthe eyes w ith a white- feathered

S a and a n e . a n h ft , mort lly wou d d Dr wi g his s he cut off his own ea — a ea word , h d f t which the warriors of that time were trained to perform— so that his enemies might not n H was - recog ize him . e thirty eight years The ene no ni . t e e a old my could r cog z Nitt , n e n enea a e ses u til th y fou d , b th pil of corp men had e harakiri a of who committ d , on en se ina a a ba body which , clo d d m sk g , was a letter containing the imperial com ’ ss ninGO- Dai o s an n in mi io g h dwriti g, I vest you with all power to subjugate the ’ s en e e h s rebel . Th th y knw t e corp e to be ’

a s Em r . e 1 8 . Mik do pi , p 9

OS K H OO AN R R I 1 0 1 A A S C L D LATE A T STS .

a H is ea was a e th t of Nitta. h d c rri d to o enin ssess n s a a and Ky to, th po io of A hik g , e i ona e en a xposed npublic pillory. A l g d ry versionof the story relates that after Nitta had e ea e se his se a e the b h d d him lf, hor c rri d s sea e in the sa e a body , till t d ddl , b ck to his a and so the ne s the c mp , brought w of sas e Inthe s a n a is fi ht di t r . illu tr tio Nitt g ing onthe left— breaking the arrows of the e ne his s s o smans H is my by kilful w rd hip . se is a ea e and the as his hor lr dy kill d , l t of faithful band are being cut downby Koya a a o the ea e the a a n m do T r , l d r of tt cki g ’ a m a h a . e e t e e o s e p rty To com mor t h r d th , the Japanese government has recently a ma en e n gnific t t mple o the spot . is ne es to e a e e a the of i t r t r m rk h r , th t

of the - se en onin is in tory Forty v R , the a as e e a e a dr m d riv d from it , d t d b ck to s e and the en a n thi p riod , id tific tio of Nitt helmet forms one of the moi ifs of the W e ma en n ina nto Y osh y m tio , dditio e s s a who esi ne an two oth r , Yo hik zu , d g d l d s a es and a a es and os se c p c ric tur , Y himori , who processions and battle- pieces are al so worthy e a of r m rk . s s an e of n s i Yo hito hi , oth r pupil Ku iyo h , has e to the se en es and s a s work d up v ti , di pl y the lowest depth to which the old manner e as e as the e nnn a s f ll , w ll b gi i g of th t gho t now s ne a 1 0 of it produced . For i c bout 87 - ns s e es a e a n colour pri t om tim gr c fully dr w , en e e a e een e oft pr ttily colour d , h v b produc d I OZ S I S R I JAPANE E LLU T AT ON .

i a an Th a a n . e a a nis e J p dr m tic tr ditio d d , a arentl ese are e s ra ns p y , for th chi fly illu t tio i r a r a es a e es The e t e of f i y t l or of b ttl scen . s are an an ne es the colour Euro ili dy , cutting of the bloc S shallow and without i v . e e is as we sa a v e gour Still th r , id bo , a e a n a a t e e ness and e en c rt i ttr c iv pr tti , v these feeble imitations have somehow a greater feeling of more solidity of craftsman ship than much European contemporary o t he sa e work f m kind . n s e d e ne e e are Duri g thi p rio of d cli , th r yet one or two artists worthy to rank with s had ne e osa e e . tho who go b for Kikuchi Y i , a e a s Taki asua a ne the o c ll d l o y , p i t r of Shij (or Naturali stic) School published in1 836 his Zenken Ko itsu — a s a anese j , portr it of J p i h celebrities nt e costume of their period . in1 8 8 - osa e a e nne One. Y i di d 7 , g d i ty Pro fessor Anderson says his drawings are superior in refinement and truth to anything of the kind produced by Hokusai or his school . The portraitures of Yosai were actually types of the patricianorder, while those of the popular arti sts were either e a nar e the en U ta pur ly im gi y , lik wom of ma e e n s a e e s na ro , or mod ll d upo t g imp r o ns a s e the as es ana ene tio , dju t d to t t of udi c n na e all the re re from which , u fortu t ly , p sentatives of culture and gentle birth were

» ex cluded by the social law of the age . It

P rtf n ra a anese W o - En rav ns o olio Mo og ph, J p o d g i g ; p. 58.

. 1 0 NE R 4 JAPA S E I LLUST ATION .

Sho—fuKiosai is described by Professor Anderson.as“the only genuine successor

the as e H okuai . 1 nh is 1 e va n s . of m t r ( ) com , an a h ne orto him in en s and d, lt ough i f ri g iu 1 ndustr he s a s nt lonl a kin y , di pl y o y rollic g o na ve a e ha s as on rigi lity of moti , th t p r p occ i ’ a s a s e sake but is e lly m ck of th cup , gift d “ a a r e and a e with r pid , fo cibl , gr c ful touch , and a power of realizing actionthat would do no di scredit to the best pages of the

an a. H e was n in 1 8 1 and M gw bor 3 ,

died in1 89 1 or 1 89 2 . A fine collectionof his sketches is preserved in the Musée O et at a s and in his uim P ri , book, Pro ena es a na ses ns O e es m d J po i , Mo . uim t giv

an account of his interesting personality . H is l s a e o s are eas a ne il u tr t d b ok ily obt i d , and arb ~Worth studying as examples of the effect of Europeaninfluence on Japanese a nn In 1 88 a a e Ki sa tr i i g . 7 ppe red th O i Gwaden in ur v es s a e , fo olum , illu tr t d by n e the na e a ana e TO oku him u d r m of K w b y , two . volumes being devoted to anaccount o f t he s es a s a s s and tyl of v riou rti t , two a s his own It W s to hi tory of life . a w rittenby Uriu Masakaz uand published at

TOkyO. Another remarkable ‘ book of our own “ e is - thc Bairei H akuchO Gwafu or tim y , “ P t es the n e s KOno ic ur of Hu dr d Bird , by . Bairei s e a s at TOk O in1 881 in , publi h d l o y

ee es a s e ena serieS - als in thr volum , uppl m t ry , _ o e es n in1 s thre volum , followi g it 884. The e

1 06 S I N JAPANE E LLUSTRATIO .

a anese art s l in ess is s of J p , til progr , illu trated with chromo—lithographs at least equal to anything ever done in Euro e . a a TOk O a s is n p0 Og w , of y , l o , produci g col types which will easily hold their oWnin an a e and nar a - ne s y m rk t , ordi y h lf to block are al so made which are in every way es ta r pec ble. The fact is that the Japanese have the ns nt e a e the i ti c of handicraft . Th y h v manual traditionof generations of S killed e s and e n inno se e en in work r , b i g wi d fici t , ne ene the are a e ad i t llig c , y bl to opt our s and a e use ua es far tool , pply to th ir , q liti higher thanthose possessed by the ag e Europeanmechanic . It has yet to be ’ admitted that Japan is England s most dan e s a in e e W her g rou riv l comm rc . ith a n en a s a nn She can She m g ific t rti tic tr i i g, , if ea uS f the e S e a s; will , b t rom fi ld of kill d cr ft manship altogether . CHAPTER VI I I .

LANDSCAPE .

T H E treatment of land scape by Chinese and J apanese arti sts is a subj ect which demands special consideration; so different in all detail s is it from the practice of any other school of painting or design in the ’ r s ar n e history of the wo ld t . To go mi ut ly into a di scu ssionof its qualities and tech nique is beyond the scope of the present volume ; but for a proper understanding of that branch thereof which immediately con cerns uS— landscape as interpreted by the designers for woodcuts— some Short state ment of the general method s of painters e a sa becom s quite dvi ble . The first point which strikes a European critic is the difference of opinion between Eastern and Westernpainters as to what r The constitutes a fini shed pictu e . former a s s nese and a anese ne e rti t , both Chi J p , v r the e ane u fill whole of th ir p l with colo r . e are nen e e inthe a na \Th y co t t , wh th r im gi ry om ositions the ass a s s p of cl ic l chool , or ghe reali stic studies of those academies to rep only the more salientspoi

‘ the scene : a fore ound of plantso a s aneffe t htoken m l , c of a ne s n a a n the s nce li of hill dyi g w y i to di ta , U " The selectionso made has indetail all the . ’ ualities a we es ns of wh t term impr sio i m. a eness e ness of an n l rg of vi w, bold h dli g , and ne ect all a ns ht gl of limit tio which mig , ’ interfere with the realizationof the painter s aim are a s n a a met . , lmo t i v ri bly with compositioncangenerally be described as an arrange ment of balanced colour . perspective is quite arbitrary and subor di ate es Th self n to other purpos . e colour it is harmonious and subtle in the - extreme ; and the ene a effe t en en e con= . g r l c oft tir ly v incin ins e the s e es o f g , pit of obviou d vic its ns co truction.

‘ But whenwe com r r 1 3 . la dsc e we find a the ann a ap , th t tyr y of new technique produces some n the n a e developments. U si g la gu g of the es ne one ma sa a the s t n d ig r, y y th t po ti g, so noticeable in the paintings almost dIS appears ; and inits place is found a finer sense s n e nea a nto of compo itio , mor rly ki w a a our o ncomprehensionof th t qu lity . The necessities of the woodcut also called for anevengreater S implicity inthe

' drawing of detail ; while the limitations of the printer forced the artist to rely for his tones onboldly contrasted masses of colour- g

JAPANES E I LLUSTRATION .

n e e can e a the and k owl d , giv you h lf truth oetr 0g ese S e s t y th impl woodcut , wrough y arti sans who only understood their own e s and not e n em pow r did try to go b yo d th . Of the colour- print arti sts who practised an are - s a e es e a re e ne . l d c p , four p ci lly p mi nt §hunsenJ D ade dainty impressioni st sketches in se- n een n an d le. ro pi k , gr , brow purp sa a s se e s e v ews Hoku i l o , who vi w of Y do , i of Mount Fuji and of famous bridges and waterfall s of J apan— masterly incomposi n na in s e e— s an e tio , origi l colour ch m t d quit a a all e e n and p rt from oth r work of th ir ki d , merit a detailed and exclu sive examination on e own a n and as th ir ccou t ; l tly, two \' artists named Hiroshi who are perhap S a M ll . There has beenmuch cOnq ionindeal ing with the productions ( If ese latter n— a s ess n e s n the e . rti st . Prof or A d r o th high st authority in thi s kingdom on Japanese painting— refers a mass of work to one man n and en ns a a e s e o ly, m tio l t r di cipl , whom a he call s Hiroshige I I . I m inclined to think that thi s man is certainly t he third a e all e ens he s so of the nm . At v t i entirely inferior and imitative that he may be dis

mi ssed from the case. Professor Andersonstates that Hiroshi e died in1 858 at the age of Sixty- one ; that he n e a e a - n a s a e infe o ly b c m colour pri t rti t l t li , a a s e was a e Th nd th t previou ly h fir man. e Japanese current traditionis that this was

l l l ROSH IGE II

VI E EW N EAR Y DO .

I R I JAPANES E LLUST AT ON . bourhood e v 1 ews a of Y do ; of th t city, of the TOkaidO (the famous road therefrom to to n I h ha K O Fu . ese e s y ) , of Mou t j Th s a e e and e a a n e e illu tr t d ov r ov r g i , with v r a n se e t n the i n ew and v ryi g l c io of po t of vi , H a ll of incident . is methods h ve a the Sim licit a as e and e e a nwn p y of m t r, v ry f ult k o to ean anns sm H i Europ c o of critici . s results are a s e ea s e in b olut ly truthful , though ch t p the process leading to them is a self- evident

fiction. Hiroshige the first has beenallotted the “ doubtful credit of having made attempts to carry out the rudimentary laws of linear e e The a t see s be p rspectiv . f c m to that both the Hiroshige knew all the perspective a e se a s necess ry for th ir purpo . They l o n as a e en n e a e . e k w , rul , wh to ig or it I h v an ea n the se n the na e rly pri t by co d of m , which gives a view of a street inYed0 ° ea n in e ane s r es aca l di g, d fi c of mo t ul of e os n the e un d mic comp itio , from for gro d , quite symmetrically away to the di stance at an es the ane the t right gl to pl of pic ure. It is eveni n and s the a n g, light glow from qu i t - s e ses one he s e e the two tori d hou it r id , whil street traffic has dwindled away to a few a s i h s e e s. nt e a c tt r d group All thi h lf light , but above the bank of cloud which shrouds the n in s a the ea ne tow h dow , gr t co of n sn - a and s ea n Mou t Fuji , ow cl d , till gl mi g inthe h s an s e a a ns the brig t light , t d whit g i t h n un crimsonof t e setti g s .

I LANDSCAPE.

It is one of the most poetical designs I a e e e seenand e e now e a se h v v r , I r f r to it b c u , givena point of view at an altitude well a o e the se- s the e s e t e is b v hou top , p r p c iv

practically perfect . But although overshadowed by the land s a e o of sa and the osh e c p w rk Hoku i Hir ig , there are many fine prints of thi s class of subj ect by arti sts whose fame rests on e iffe en nes 1 1 2 is the r wid ly d r t li . At p . e productionof a view of Yodo castle onthe ’ o e a easan s oa in the Yod riv r , with p t b t o e o n w c ro es ha amar f r gr u d , hi h p v t t Ut o al so could deal wi sely with other subj ect s

han a o en. To okuni a s t f ir w m y I . l o pro duced a set of an sca es c o l d p whi h , th ugh a e is not e Keisai Y eisen r r , of high m rit ; but “ in is r e e the e 1 1 2 h ws h . S B idg ov r Riv r (p ), o ea e and mu o e ni fee n gr t pow r ch m d r ty of li g , if one may ju stly use the expression; and inthe view of Mount Fuji which forms a background of a scene from the drama of the - se enROnin he a s s a s a Forty v , l o di pl y s ns effe t e S m fine e e of c iv i plicity . This series of twelve plates is one rarely seen; ’ but S hould perhaps rank as one of Y eisens a s a n Y na gre te t chieveme ts. eise l so made a set of ews a e a s in a n good vi of w t rf ll , imit tio his as e usa of m t r Hok i . 1 is a o n th - At p . 1 4 repr ductio of e left hand n a ee- s ee n S adahide portio of thr h t pri t by , one of the eight famous views of Lake Biwa — s t ea als a ubj ec d lt with o by Hiroshige I . I E I L S R I JAPAN S E LU T AT ON . in one of his most sucoeSSful: moods as s a e is ris. well s by oth r artist . This p rint i teresting a European the hill ; i and dark strong an Before leaving the i h e al u e ‘ to s wort whil . to l d a n a as oun u tr ditio , th t . M t F j

. u n h so a s the . r n san ig t , l o g o d k vince of Omi in° the rsame space ° — - ° the a e so a ed ro its fan ed re sent f. l k , c ll f m ci blance inform to the musical- instrument Of;

. . f r ed the na e Was o m . m , A view near Yedo b S hi enobu the son- i y g , (see Chapter It is posed picture of promenaders e - l ss a ve of ch rry b o om , imit ti , ex e te s e I p c d , of Hiro hig . to ' an e sa H okusui wei Of oth r pupil of Hoku i , , reproduce a strong impressioni stic picture in the s - . fe a ns ; (p . which tri of r i torm

’ and and the us a er inflood: cloud , r h of riv ' are en e e e l n eff c The s r d r d with t l i e t . cene is one of a set of a bun red views of KyOtO; an e nei and i no m n d , s ea s th ghbourhood by ; v . ‘ n H okusui n bi - commo . Of himself o ogray hical e a s are as et n p d t il y k own. In s a e we ma n e a s thi l c y ot curiou . “ ns ane 0 ns s n i t c u crupulou pot boili g. nsa a s ed a u 1 8 0 a set Ku i d publi h , bo t 4 , of

I R I JAPANES E LLUST AT ON . attained considerable di stinction in thi s e t nand we e a e of n dir c io , r produce vi w Mou t “ F m the ans i GWa O s e uji fro S u j , publi h d by him at Nagoya inthe early part of this n e s an s a s ce tury. A notable s rie of l d c pe owes its originto what one may fairly call the Impressioni st School of J apan, among the a s s K chO is ro- e nen rti t of which o p mi t . Inthese the curiou s conventional bars of pink used by Hokusai and others (possibly e esen s e a s n to r pr t mi t, or p rh p o ly to secure a correct aerial perspective) are ignored ; the principal object is dashed in i a few nes and a n ne e a w th li f i tly ti t d , whil minimum of accessories of any sort is intro duc d Th i en a n nd e . e s s a re ult oft ch rmi g, the s e n the KOchO Gwafu fir t ditio of , s e in1 8 1 is a be e publi h d 7, book to priz d by the t its a e e e an collec or for owns k . W g iv e a e the s 1 20 sa . x mpl of chool (p . ) by Ho i

The last group . of works dealing with

an s a . we a e a e e e l d c pe to which h v sp c for . r f r ene is a the M eisho Zfi e c th t of y , or s a e e s se a e illu tr t d guid book . The m de th ir a ea ane a 1 680 n e s n pp r c bout (A d r o ), but attained their highest excellence inthe fol “ ‘ ” n en . The M eisho Zfi e lowi g c tury y , ‘ “ sa s n e s n n a es all the s s y Dr. A d r o , i dic t pot am s for an s a e ea es ects f ou l d c p b uti , coll learned records of the hi storical and legend ar e the a es es e enu y lor of loc liti d crib d , “ P rtf m no ra a anese W o En rav n o olio o g ph, J p o d g i g, 1 8 95. P 43. H OKUSUI

V I E N E K T W AR YO O .

CHAPTER 1 x .

TECH NI! U E .

TH E technique of wood - cutting for book illustration and colour- printing in Japan f s an an s and a e un orm import t tudy , pro r derstandin of it is essential to any ape uate critici sm ohits results— more so indee for eas ns a ea aninthe ase r o which will pp r , th c f a s The f n a n is o other rt . ollowi g ccou t based mainly on the authoritative re ort a Tok no e the e e by Mons. T. u (Chi f o pgrurpearudof Engraving and Printing of the ns r nane TOk O s a e a Mi i t y of Fi c , y ), to illu tr t set of tool s and materials deposited inthe ‘

a na se at a n t n. S . N tio l Mu um W shi g o The first point of importance is the choice a s ene a s is a wood . Th t mo t g r lly u ed ' ecies of cherry— the sakura — which g1 v es a grainof peculiar fineness and hard s a d ane nes . s lan s are n From thi , p k cut pl d to a smooth surface inthe ordinary manner ; wood- cutters invariably usin a a e with the a n as dig p r ll l gr i , and the ea ean en ra e s rly Europ g v r ,

nian Re r n um 1 1 thso t US . Nat a se 8 2 po , io l Mu , 9 ,

1 20 I R I JAPANES E LLUST AT ON . thi s purpose the designer will have p re ared “ a na s n a n oncac the dditio l pull , i dic ti g extent of the single colour to be printed e e and the en a e — a s a a s th r from gr v r lmo t lw y , be n e an e n a — e e es a it ot d , oth r i dividu l x cut series of blocks accordingly : Sometimes carrying out two or three onthe same plank “ and e en the sake e n on v , for of co omy , opposite sides of it . T okuno s a es a he e ffe ene M . t t th t t chi f di r c between the ancient and modern styles of wood - cutting lies inthe comparative Shal ness the a e and the fa a is low of l tt r , ct th t it no longer the custom to beginby deeply n s ma e a n incisi g the outlines. Thi y c rt i ly account for much of the sacrifice of vigour to mere prettiness noticeable inthe work of n d the prese t ay . There now remains for considerationthe ‘ e n n an e a n a a s m thod of pri ti g, op r tio lw y

performed by a third individual . The block - whether one or more colours is to be se a e s not at all s ne ea n es u d m tt r , i c ch i volv a separate operation— the block is prepared a n the dr men ve by lo di g it with y pig t , o r a e e as e is s n e s which littl ric p t pri kl d . Thi is en e and a s e onthe colour th mix d dju t d , block a s s a ins a e se , with bru h imil r h p to tho ' ’ used by whitewashers (p . also well as h se loaded with rice p te ; t e u of the latter .

A useful account is given in Jap an in Art and ” m En s t rans at nb In ustr b . Ré a e F d y , y F g y gli h l io y M . .,

n : ax nand o. n. L n d E . L e 8 n . S C 1 a S . h ldo o do o , 9 3 IIOSAI

M O U NTAI N S C E N E RY .

ES I S R ION JAPAN E LLU T AT . that the Japanese eye and hand require no more formidable device thana cross at one ne the and a n ar ne at the cor r of block , bou d y li e is a sa a s oth r. It little di ppointing perh p to our pride to find that we are so hope lessly inferior in mere manual dexterity ; but the loss of whatever we once had is the price Nature has exacted for the insult of our e n - machins a d labour saving appliances. With regard to material s there is little e b sa Th a as a ea e . e e mor to id p p r, lr dy n a e is— or was— a es manufac i dic t d , dom tic ture from the inner bark of a species of e a e the se and mulb rry, cultiv t d for purpo , “ l Its e cut in the withy state. xtreme toughness and evenness of texture fits it peculiarly for t he process of printing to which it is submitted ; while a high absorb ent power is no meanfactor inthe practic ability Of that process ; and is very largely answerable for the exqui site tone and a n c The s are qu lity of ti t produ ed . colour for the most part the mineral or vegetable substances well- knownto ourselves but one or two quaint customs inconnectIOnwith a n a he a e and e m be e . s t th m y i dic t d Thu , r r beautiful blue found onold prints was oh tained by recovering the colour from rags dyed with indigo and al so a pink

‘ be nea was e m thought to cochi l , import d fro na in the n fe ed Chi form of cotto lt dy ,

Anex cellent and easily accessible account of the p ro ” cess w be f un inthe C nsuar Re orts a an 1 8 1 . ill o d o l p , J p , 7 TECH NI! UE .

r Tokuno The a a nhad cd ( ). colour g i to a ku a s e s us a . To no be extr cted M . l o t ll th t the J apanese printers pride themselves on

YEITAKU SENSAI I IN ESS N 1 - T G 880 8 2 . . A WR L O ,

the difficulty of properly preparing their s and on s t s ess the s e e . colour , kill r qui i for ucc It will have beenseenthat the colours are thus sufficiently identical with our water I JAPANES E I LLUSTRAT ON . colours— rice paste or a little glue solution taking the place of the gum or sugar used by Europeanmanufacturers; and the actual mixing being anintegral part of the final

ess use nstea a e a a . proc of , i d of pr p r tory a Oper tion. Ins me the - ns and s o of colour pri t , mo t of the surimono a me au r e dr , thod of g f ag , or y

n n is er effe t e se . is pri ti g , v y c iv ly u d For th 3 purpose a block must be engraved with the . s e a es n be e sse is p ci l d ig to mbo d , which e off s e es e a s rubb d , or om tim , p rh p , inits e ene s e ss n is prop r Sequ c . Thi mbo i g so thoroughly done that it i s not uncommon ” to find prints which still retaina consider

' a e amount of e e e ena e an ne va bl r li f, v ft r i t r l nr of a cent y . The e n e the surimono n ee is t ch iqu of , i d d , inall the earlier examples of surpassIng ex c ll c On ese e ns— comm o e ene. th littl pri t em rative a eas the New ea r anni ent of f t , Y r, o i c d inthe e the a s his a n s h as lif of rti t or p tro , uc a change of name or the adoptionof a son— é r a s e was n n a n eve y c re pos ibl u grudgi gly t ke . e are as a e s a in S e a e Th y , rul , m ll iz , r r ly exceeding six inches intheir greatest dimen Sion; and intreatment they seem to have e e e a e ffe en s e due d v lop d quit di r t tyl , doubt l ess to superior delicacy in the processes ; u sed . AS a rule the effects are obtained by a greater preci sionand fineness Of line than

‘ inthe a s ee s a an ur 1. bro d h t , by brilli cy of colo and a a s use e a c s res by l vi h of m t lli lu t ,

H I TEC N ! UE .

S e and ne ea one gold , ilv r, bro z , which l d to compare them in some degree with the work of the old Europeanminiaturi sts ; an ana e er st ea be logy , how v , which mu cl rly understood as applying only inthe case of e a n ese anes e n e and c rt i r mbl c of t ch iqu , by no means in the matter of treatment or e t choice of subj c . As t s atte we ma s t sa e e to hi l r , y hor ly y h r that it covers ground widely di fferent from the broadsheets ; it is treated of at greater

en t in ha e X . dea s t the l g h C pt r , which l wi h general question. The school of arti sts who worked at O saka from the early part of the nineteenth century made use of a technique resembling at the surimono so far as the ri ian th of , b ll cy of colour and liberal use of m etal s is con n M of hei o is cer ed . uch t r w rk of high e e ene as nt n and as s h has xc ll c pri i g , , uc , scarcely yet received the attention it nu doubtedly deservesat the hands of European collectors. A short notice may be fitly inserted in thi s place of the manufacture of that crape paper which add s so much to the appearance t e w se ten ne nts and has of o h r i of i f rior pri , beenu sed with excellent effect inthe com ilations of fairy tales lately common in an The r ess is es e Eugl d . p oc fully d crib d ‘ e n and canbe s a e as ws : by R i , umm riz d follo n REIN . . The I ustr es of a an 1 88 , J J d i J p , 9, p . 408. I JAPANESE I LLUS TRAT ON .

The a ea ne S ee s are a e and lr dy pri t d h t d mp d , e n a e n e on a ti d rou d fix d cyli d r, which movable collar is worked by a lever insuch a anne as ss th s ter m r to compre e edge . Af ea s e a nthe S ee s are n e ch uch op r tio h t u ti d , and re- arranged inpositions relativeiy to ea e h ffe s s e a a the ch oth r , w ich di r y t m tic lly, whole process being repeated until the paper has beenthu s treated at practically every an Th es is inthe as ss e e. e e po ibl gl r ult , c a - n a s a a e re of colour pri t , curiou ly ccur t t n the e en canbe eas duc io , xt t of which ily estimated by the simple experiment of soaking the print inwater and thenapply e th a is ing a squgee . If e p per good it will be restored very nearly to its original dimensions. The making- up of a Japanese book differs so widely from the Europeanpractice as to far a h merit a short notice. So s t e illustra ns are ne ne the e n e is ao tio co c r d , t ch iqu pr tically the same as that of the broadsheets ; but a curious custom exi sts of cutting the two halves of a double- page illustrationon the halves of separate blocks; each Sheet being thu s printed with portions of two es ns The S ee s are e in th d ig . h t fold d e e and s e at the e es ns ea middl , titch d dg , i t d of, as us at the s so a the v ed with , fold ; th t di id design comes natu rally into its place on e e s e the e the en ith r id of middl of op book . An advantage is thus gained which may aff a eas n the e e ea ea ord r o for proc dur , ch l f

H OKKEI

A VIEW OF H O K KEI

M T I OUN FUJ .

I R I JAPANES E LLUST AT ON . productions is that of accepting their con H e has n as na — a d Ventions. o ly occ io lly n that as a matter of fashion— succeeded i n taking the technical qualities of anart into “ h a n A a account in is re so ings. s rule he e an s the s the a ne the d m d from culptor, p i t r, en ra e the - e s a unintel g v r, wood cutt r, ju t th t li ent se - ea s the e a ene g , p udo r li m which d c d c of the Renai ssance invented to please his a e And ea is foref th rs. it r lly worth while askin whether a personwho demands light and s!1 a e o e n n ae d , m d lli g , or mi uti of form , from a craft only Capable of strong line and flat ass is ona e er m of colour, v ry much hig h a s e e anthe n an ena e who rti tic l v l th I di pot t t , was sad becau se his full face portrait did not do justice to the magnificence of the s on i a robe h s b ck . Now the J apanese as a nation seem to have a very finely developed a reciationof 1 h a e ppave a a beauty nt e abstr ct . Th y tt i ned to a higher level altogether thanthat of the a era e ean e an s Inhis art v g Europ , who d m d the easily reco niz able incidents and objects his e e a e a e ess of v ry y lif , or mor or l common- place presentment of such histo rical assi a e en a s enes as the , cl c l or l g d ry c , arti st judiciou sly selects to flatter the little l t le e e IS h learning of his c iené . Th r not Ing in n s fe ness be the ann al E gli h li , u l it u pilgrimage of the cockney to Bushey Park — on Horse- Chestnut Sunday to compare with the flower festival s of Japan— with the

1 I 30 JAPAN ES E I LLUSTRAT ON . se n es es w1 th a sense rmo . It oppr s of as e i ates i the e ene m t ry, or irr t w th vid c of ’ a The a s s e s na is e e f ilure. rti t p r o lity ith r too prominent for unphilosophic nature to willingly admit ; or too flagrantly absent n se Th aim i n for e e a a e e . e v ch rit bl xcu , S is a a s e e i hort , lw y ith r too h gh or too and the ea n a e n e s low, w po r r ly u d r tood , n d s ra n or ma aged with care an re t i t . But Inthe best of the nislz iki -y e we find n s ns a e is one of the e di stractio . No tt mpt made to represent anything incapable of ex pressioni nclean- cut lines and flat masses u — the n an e h the of colo r, o ly l guag of w ich technique of colour- pri nti ng with wood s i e f a e The es IS an cut s p r ectly c pabl . r ult a s a t n— nea a n as a b tr c io u r l , but ch rmi g a - a e and e a s e all a na f iry t l ; , lik th t , out id r tio l e at and es criticism . On can look it r t ; without exciting either for good or evil the i emotions inany way whatsoever . And n these days of mental introspection and nen n e na e a Is a ess u di g motio l tortur , th t bl i n ea be Ii htl es ee e g too r t to y t m d , or a a a i ccount s thing of ttle worth . H AKUSH U

S T U D IES O I " FIS H .

2 A A S I S R IO 1 3 J P NE E LLU T AT N .

be indicated as having a direct bearin on s e The a a s s enerall c o our ubj ct. dr m ti t y se ’ for their plays the historica or legendary romances with which the literature of J apan “ a n ea e bou ds. They tr t d them at great length ; but in the matter of accessories e e e e an n en ns th y w r limit d by m y co v tio . s the famous la s e an s u es Thu , for p y , c rt i co t m and s ener we e ad ona and l on c y r tr iti l , cou d no a n be se s a e e the ccou t riou ly v ri d , whil make- up of the actors was prescribed by

no ess ri id rules. s a n

l g ' Thi will ccou t much of the apparent lack ‘ of individuality inthe portraiture of stage heroes ; that it is due to no want of skill onthe part of the

' - arti st is shownl by two well knownviews of ' “ a atre n ri r To kun I i the i te o o i . n by y , which the varying expressions Of the audience are

' i sh rendered nmasterly fa ion. Another noteworthy fact is that all “ female parts were form erly played by men; and that the so- called representations of a t esses are ea e e e a e c r r lly, th r for , of m l a s n ctor o ly . I nthe ea ns ea a s e ts rly pri t of th tric l ubj c , the di splay of stage accessories is very s a e en ensa e the light , d fici cy comp t d for by fine dramatic force with which the passions . the a te s are ene a e te of ch rac r g r lly d pic d . But in the more elaborate broadsheets of the nineteenth century the scenery is given

1 Int e ect nat the N t na Art L rar h coll io a io l ib y . H l ROSADA

BU DD I NGE I N TH E FE E BE H I R M H ST A L ATH R RO ( GO O O).

S I S R IO JAPANE E LLU T AT N . found it necessary to sit onhis ownclOak in a th a ons order to m ke e customary salut ti . ese sai a s e I n e C0n~ Th Hoku b olut ly or d , tinning his work impassivehy until his s e in n n a e vi itor r tired co fu sio . Ultim t ly the actor was compelled to humble himself e en e and n n n e and a ect v mor , o ly by co ti u d bj apologies succeeded at l ast in obtaining he ane what w t d . Of the hi storical scenes the most popular are e a s s a ns n ens Inthe , p rh p , illu tr tio of i cid t great social war between the two leading ans a an the a a and na cl of J p , T ir Mi moto , which culminated inthe battle of Dan- no u . D 1 1 he the a th ra A . 8 . t e , 5 At fight rmy of e was a t a ann a e and form r pr c ic lly ihil t d , to this day the bay is said to be haunted by a a I the ghosts of the defe ted T ira. nthis battle the Minamoto were commanded by Yoshitsune the a e e a anese , f vourit h ro of J p hi storical romance ; and he al so forms the central figure in many of the colour s print . ‘ The early hi story of Yoshitsune is bound up with that of the two reat contending a es enan e e h e e i e f mili , who t gl d t w ol mp r intheir struggle for supremacy during the e h en ns n a i sana tw lft c tury , fur i hi g cur ou logy with our ownWars of the Roses evento the colours of the badges ; for that of the Taira was red e the na a e , whil Mi moto , ultim t ly

A full account of the history of this period is in ’

RI FFIS The a s Em re . 1 2 etc . G , Mik do pi , p 4,

JAPANES E ILLUSTRATION of S nen- O I the d unar and hi t D J , r k d boy ‘ ns his hOrde of demo . t e u e ts ass s su e ts O h r s bj c , or cl e of bj c , r r f a t s— n dealt with a e ve y ew. Popular c or l both male and female parts— fa 1 0us beau es the s a a and sinn1 r1 ls ti of Yo hiw r , g gir Scenes from successful plays hese cover all the ground of the earlier and best e s en es the e and p riod . Th com poch of l scape and of battle- scene ; the illustration ” the en es nce e of Adv tur of Pri G ngi , ane the en en and rom c of t th c tury , of a ea e the samurai the ev th t gr t pic of , D o n he - tio of t Forty seven ROnin. This fa s s a n be i en mou tory , lthough too lo g to g v e e a s for a few s en so h r , c ll word of comm t , frequently does it occur inthe pictorial art e n a an a e of th commo folk of J p . The t l has een a n f b ch rmi gly told by Mr. Mit ord , n a b a d s . . a l o y Mr F . V Dickins; but e ch of these writershas drawnfrom the romances the s a s - the se n m fir t from tory book , co d fro he a a a. t e n en is a dr m Now whol i cid t { matter of historical fact which occurred i n 1 0 1 - 2 and es s on n ea a e evi 7 , it r t u imp ch bl dcnce and e s n en se a xi ti g docum ts. The h ve en S hi e e e . S no b thoroughly ift d by Mr g , Professor of Hi story inthe Imperial Univer Sit Of a an and a n enen su ar y J p , co v i t mm y

E Br use f See AND RSON t. um Cata ue o C nese , i M log hi n a n n s 1 and a a ese P t . 0 etc. J p i i g , p 9, ITF T es of ld n ORD a O a a . M , l J p h uhin D IC KI NS C i s ura. , g

I JAPANES E LLUSTRATION .

love of the Japanese for the beauties of nature is among their most striki teristics ; and one of the forms ressionconsi sts in the holding of annual olidays for the express purpose of admiring the ss e r - ree her blo om of ch r y or plum t , or ot seas na e a a n e o bl ttr ctio . Th se excursions have furni shed occasionfor almost countless s ns Yeisen nsa a n compo itio by , Ku i d , Ku i os and e a s s e e. y hi , oth r rti t of th ir tim Representations of c hildrenare not met h so enas T wit oft might be expected . he ee a s s a e en ne a e how thr rti t bov m tio d h v , e e ea a e s e a n se s v r, ch m d om ch rmi g t of a es of the n and a n o g m you g folk , mo g Kiy ’ na a s m s S ess is a set g , o t ucc ful work of d esi ns a S a na elightful d g of imil r ture . The landscapes have already beendealt with inthe chapter devoted to that subj ect. Compositions of animal or plant form are a e met in n e r r ly with but book form , ot worthy exceptions being a set of birds by a a and s es s e Ut m ro , of fi h by Hiro hig I each engraved and publi shed quite inthe n h a s e s man er of t e bro d h et . Some of the later artists dev oted them selves to battle- scenes and military proces S ions ; the specific subj ects being generally takenfrom the ex peditionof the Empress J ingO to the Korea inthe third century ; that of KatO Kiyomasa and Koni shi to the same country under Hideyoshi inthe S ixteenth en r and the a s the ai a and c tu y , w r of T r M B E T F I R SO E SU J C S O LLUST ATION . 1 39

Minamoto to which allusion has already en a be m de. ese s enes enrun five or Th c , which oft to

I E LN CH LDR EN AT PLAY ( EARLY EIC H T TH C ENT U RY). e ense ens ee s inone es nare ain v v h t d ig , qu tly effe ti e et e The eta is but c v ly put tog h r . d il e and as a e e e the crud , , rul , of littl m rit , but s are en s se and the colour oft judiciou ly u d , I R I JAPANES E LLUST AT ON . general lines of the compositionarranged e with telling r sult . leaving the subj ect of the band s ee s na it be e h t fi lly, will w ll to point out the circumstances which have so restricted t e s a ha e n he subj ct de lt with . It will ve b e noticed that these centre almost entirely n e the de afl o a a a an rou d Y do, f c pit l of J p n n n e t he a e. The a t s e u d r Shogu t c or , wom , s enes are nea all se the l a c , rly tho of mi it ry e s and o its ne d so m tropoli f ighbourhoo , that representations of them were even - T e known as Yedo y e (Yedo pictures). h fashionwas set by the lower samurai and other ' vassals of the high nobles who made their periodical visits to the court of the e s e a Shogun. For th ir e p ci l benefit many the s ee s e e e and ere of broad h t w r produc d , w purchased by v i sitors to the great city for the e a n e n al es d cor tio of th ir provi ci hom , and the gratificationof friends and relations a ff af r o .

‘ surim a a si he ou . e n a s n n T o d m d p g ote. Inthe s a e is ne essa fir t pl c , it c ry to the widespread mistake that these d ainty ' ° works of art were invariably produced - as ’

New ea s a s. Onthe n a s Y r c rd co tr ry, it mu t be clearly understood that they were i ssued on any occasionwhich seemed to call for some special distinction in the form of ne en n a a A i annou c m t or co gr tul tion. n n stance of a concert ticket has already been

en. e exa es ma be e giv Oth r mpl y quot d ,

SOM SUB E S OF I L S R IO 1 1 E J CT L U T AT N . 4 for ns ane NihO a e a surimono a i t c , m d for ’ man ann ne the a e S e e , to ou c l tt r r cov ry from a e a n ness Gioku en esi ne t mpor ry bli d , y d g d one for anactor who wi shed to inform his patrons that he had adopted a son and given him his name ; while the common and the e t m s a n a t e , to coll c or , o t irrit ti g pr c ic of assuming pseudonyms has its sole re deeming feature Inthe number of surimo no which it has called into exi stence . The s e ts es n the a e are ubj c of d ig of l tt r ,

“ as a e m e an e a s e han rul , or f ciful , mor llu iv , t

those of the broad sheets. S cenes from folk ales s and owe s of en the t , bird fl r good om , e en s oo o ne and he S v God of G d F rtu , t ir s e en a few est e ens or hip , v dom ic impl m t , ns ens us se e to ma e a com i trum t of m ic , rv k s n e e a os o s po itio , compl t d by m t judici u ly e ns on and ene a ae plac d i cripti , g r lly com m panied by a poe . d nc has a e a ata u M . e Go ourt m d c log e ' ra s uu the sur z mouo sa he i o eof of Hoku i . T y e an as a o e a s e a s h d m d , wh l , p ci l tudy , bot onaccount of their intrinsic merit and for the reasonthat their copious inscriptions doubtless hide many biographical facts of o ane As our s r es of n r a on imp rt c . ou c i fo m ti n ease no s an of a anese i cr , doubt thi br ch J p art will al so be opened to us with much gainto our knowledge . D P BY T IIARA SH UNCH OSAI 1 LAN SCA E. AKE , 780.

Gyoku- ran-sai i E Gyoku-ran-tei I E H oku- tO SI; fl

Hoku- tsui . 1B 3 Hachi-ye- i- monA H H aku- shua 911] Hoku-yei g H ana-gawa- tei 78 II] J H an- z an 42 [I] H aru- kawa Ill Haru- nobu3 fl Haru-ye 5 H a- se- gawa 5 8 III Hide- kuni x ! e- maro Hid I! Ichi- riu-shi 32 t e- ter Hid u a u Ichi - un Hiko k i is E Ichi Hiro-k age l fl Hiro - kuni l a Hiro- nobu (I Hiro-sada j

" H im- s e hig I l Ik- kO-sai g g ' i - aw a i ” - - = H shi g I I no uye §l j ; H fi- ets -dé s u i A t Ip o p itsu-sai H O—itsuis

H ok- kei I \, J II: a

o -ba H ku 1B .5 Hoku- chO ih 5 elm- a H e if: 1! Ishi- wara a o - i H ku j utm3 It-chO Hoku- mei fl Hoku- myO 111 !

H OIfll -Sfl l I-he‘ I m J i ! 3 ; ’ ARTISTS SIGN

Ko- rru-sai fl KO-sai i t I Ko- sui- sai i t 5 j Kuni - aki a M Kuni - chika H

un- ham Katsu- gawa 3 III K i i 3 Kuni- hiko fi

Kei- gaku i E; un- ka e Kei- sai (Masayoshi) t f K i g un ane Kei- sai (Yeisen) f K i k i f un- ka u Kiku- chi fl fl K i z a E

un- k Kiku- gawa fl Ill K i iy o fl un- mar Kin- ChO- rO fl fl K i o a )g un- maru Kio-denE 13 K i i It. un- masa KiO- S ai a g K i a un- masu Kita- gawa I“: III K i fl un- m tsu ita- wo i m K if; E; K i i un- m r Kiy o- haru m K i o i E 3 Kuni- mune fl fig Kuni - naga i E

- - un naw Kiyo mine I” i K i o a fi

- - un n r Kiyo mitsufl ii K i o i B a

- na a un- sada a i , Kiyo g nE K i

- - un sat Kiyo nobu fl f; K i o E m Kuni- shige a Kuni - taka E i Kuni - teru fl Kuni - tomi i g Kuni - tomo 75 Kuni - tora R Kuni- tsuna i ! ' Matsu- kawa 35 Ill Matsu-shima fi Kiyo-un Mitsa-nobu i fl Roku z aye i mon Mira-gem a m Mori a Ré reng Mari- ni G? ku i ' Ryii - kokua I Mori- nobui ! Ryfi-kfi-sai 1 I? ! Mari- yoshi ! R fi-sai 3 ' y Moio- fusa 5 Moro-naga Moro- nobu fi

a a- S d fuss, j Sada-hide Sada-him Nan-gain:

Nishi - mun 3 i f Sada-nobuj C Nishi -yama l [I] Sada-aka

1 8 . ANES E ILLUS R I 4 JAP T AT ON.

Tei- sai Um-pfi l!

Tern- or Yeishi Un- wa yuki ( ‘ ) ! 2 g ! Toki- ta- r6 f} k fl Uta- gawa m

‘ V Tome- kichi ! 3 Uta- maro I E

T m - awa ta- m o i k I )ll U ya s, a [l] Tomi- nobu I fl m m J : 1! Tori - i A E Tori- yama 5 In Toshi - kuni fl i Toshi - mitsu (or Shun- man) ! it u Yama- guchi InI] Yama- moto In Yama-naka l" a]: Yana- gawa a m Toyo- haru Yanagi- ya a 3 Toyo- hide 5 Ya- shima 95 a

T - r Y su- o- r6 oyo hi o I a g ! 5 , fl Toyo- hisa Z Yasu- kuni a ! Toyo- kawa )ll Yasu-nq bu! a Yei-hakua] : {a Yei- sai fl f Y ei-seni i

- Toyo nobu I g Yei- shi ! 2"

T o - sh e Y ei- s n oy ig t hi fl . Té -y ii in5 Yei- sh6 T6 - zab - r6 a 5 fl Yei- s un u . h Tsuki- maro B B Yei-taku fl Tsuki- aka 3 Yei- z anx m Ye- kawa a: II] Ume kuni (or Bai koku) i Yen- ki a t SIGNATUEES .

Yb-sai g f Yoshi -shige fi 1 Yoshi - chika f a Yoshi- tada g

‘ Yoshi- fuji a; Hfi Yoshi - taki 95 if

- s - o Yoshi fuse. 3 Yo hi t m R Yoshi - ham 9} t Yoshi - toshi (or H anen) Yoshi - hisa Z Yoshi - toyo 1 2 Yoshi - kado f Yoshi - tsuna j i fl

‘ ‘ Yoshi - kazufi E Yoshi - tsuru 73 i Yoshi - ki fi fi

‘ Yoshi - kuni fi Yoshi - mam t Yoshi - mori E Yoshi - mum: Yoshi- nobut Zen- y e- i- mon 3 75 fl

AP NE E IL US RATION 7 J A S L T .

H okumei T ets 6 . K d6 . ( u , 9 , 97 H o k um 6 y K 0kud6 , 97 h S unk6sai, 96. KeisaI Sec Yeisen d ad o usa 2 6 0 6 H k i. 7. 3 4 , 49. 5 . 59. 95. 96. Hokusei (HokkaI) Shun shi sai. 96. " H okus u hunk 6 h , S 6sai, 9 . usai I 1 Hok , 4. H okutci 6 , 9, 73

’ u- nu 6 Kisaburo ame a Hok , 9, 73. , K y , 75 H oku ei h a awa 1 S unk6sai 6 . t . y , , 9 Ki g , 4

- H oku u un Ri a rasa i 1 . Sh shosai 6. y , , 9 y , Mu k , 4 ara n6 Su e Kiyoh , Ko d k

ro Tor 2 . go , ii, 3

Ki omasa Kat6 I 8. y , , 3

Ki om su Tor 22. Ic he I aw a y , ii, hi i, z iy , 79. a Ki omi ne Sh6 nosuke Ichibei eikiuI 26 y ( ), , S j , . r To , 23, 27. Ichibei Shiroki a 26 . ii , y , ’ i mitsu To 2 K o , m , 3. Ic 6 Haasoa 1 . y hi , ss, 47, 5 mor 1 Ic - O Shumboku I Kiyo i, 35 . hi , , 4. Ki ona a Tom 2 I chiro emon mu y g , , 3, 37, y , awa ra, K 6 46. 44. 56 60. . Ki onobu Tom I -itsu y , , , 63. Ki oshi e Tori 2 Ikkei anabusa y g , i , 3 , H , 5 1 . Ki otsune T r i 2 Iniu o y , , 3. d . o i j , 47

K6ch6 8 I . , 9, 1 6 Issa Naka lwa 60. i , j , Ko i a 2. g y , 5

K6kanS a 66. , hib , 1 1mm m a“ J m , 33» ns 1 8. Ko i hi , 3 in6 Em r ss 1 g , p e , 38. 6 r n8 . K i , 9 itokusai I j , 4. iusai 2 1 K or 8 . , 3, 3 1 , iuz emon 8 J , 3. osuisai. hi K See S gemasa. um a K i, 30.

’

a sh 2 . ma c K i i , 4 Ku i hi, 47.

Kak6 Tc h tat o. S ee H o Kunichika 8 , i , 54, 9 .

usa . unih K isa . k i , 54 Kasusa a Tusuke K n y (J u imaro, 54. 43 W 54 Katsunami ana- i 8 K , 3 , 54

82 .

atsus a Ts to 6 . nnao 8 . K hik i , 3, 75 Ku i , 9 INDEX .

nsa a Uta awa Ic Nao iro, 4 . Ku i d , g , hi g 9

6 sai Got6 tei Kach6 r6 N 6 1 1 . y , , , ih , 4

okuni 0 Niz e eimon ata ka 6 . (Toy 5 , 95 , y , K o , 9

l 1 N obu oshi 1 . 97: 99. 4 y , 4 R iiko Shum fid6 h6 r6 8. No iro unsa a II . Baic K i d , , 9 j y , p ,

8 . to . Kunisa , 54 9

unitaki . K , 99

un ru . K ite , 54, 99

unt m . K i o i , 54

Kuni ora . t , 54

un oshi . K it , 99

nitsuna . A ras Ku R an 6. , 54, 99 ik , hi , 9 n as I 6sai asu 8 u u R6k6 . K iy ( p p Y ,

6 r6 Rokubei Ikari a . g ). 54 , y , 77 Uta awa Ic un s R 6k6ku 8 . K iy o hi , g , hi y , 4 ‘ II sai C - oro 2 8 y , ho , 5 , 9, H adahide Uta awa Goun 9 5. S S , g tei G okuransai 1 1 , y , 99, 3.

Manl 6 . Sa a r . j , 3 d hi o, 97

us i . Man 6 r6 Giok a Sadamasa . g , , 57 , 97 u kk 6 Koriu Masakats Sai ir6 80. , Ho i j ,

sai 1 . Sakak ibara 2 2 . , 3 ,

r u 1 0 . d a Masakaz u U Sanc t 6 Y ama ei 80. , i , 4 hi , y ,

bu itao 86 . 6 1 asan K Sanc 6 . M o , , h , ura 8 b um . asan u O S e awa 2 6 . M o , k , g , i ao Keisai n asa s K t Se he a 6 . M y o hi , , i i, Ho y , 9

8 . S e c 6 2 . 7 i h , 4

ata e Iwasa 6 . S eki en Tori ama To o M h i , , y , y , y

i 8 . ua 1 86 at ra O s f s . M o , i h , 9 , 4 , 44,

c s e 6 . Sekkwaro 6 . Mi hi hig , , 9 n nk6 Tac ba a 8 . S ene 6 Teisai S t Mi , hi , 7 h , ( og e

T b na 8 1 2 . Morikuni ac a su en . , hi , , y ) , 79

n H ase awa 1 I . rof sa . Setta Mo u , 7 , g , 7 u t na a . Shi emasa Kitao s Mo o g , 7 g , (Ko i

oronobu H ishikawa Ri sai 2 86 . M , ( ) , 5 , 44 ,

c he 2 1 . Shi ena a N s mura 2 hi i), 4, , 33 g g , i hi , 3,

oz i u Tokiwaz u 6 . 2 2 . M tay , , 3 5, 9

u ura 62. Shi enobu ana awa 2 M g , g , Y g , 7 ,

unisada 8 . 1 1 . M , 3 75» 4

' mon 2 . urakam Gen ei Shi e oshi GenII 6 6 . M i , y , 3 g y , J , 7

Murata a. 82. S 6 62 8 1 . y , hik , 44, ,

S ma ara . hi b , 93

N mu Tomed uro 2 . Shinsai 6 . aka ra, j , 4 , 3, 75