Toyohara Chikanobu

The print depicts Yaegaki-hime carrying the helmet of the warrior Takeda Shingen as she dances amidst magical foxfires. Triptych by Chikanobu.
For other figures with similar names, see Chikanobu.

Toyohara Chikanobu (豊原周延)(c. 1838–1912), who signed1 his works, Yōshū Chikanobu　(楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His given name, as written in his obituary 2 , was Hashimoto Naoyoshi (橋本直義). Like most ukiyo-e artists, his œvre portrayed a great range of subjects, including historical battle scenes, kabuki actors, and bijinga, pictures of beautiful women. He became particularly well-known for his exquisite expositions of women's fashion, including both traditional and Western clothing, distinctively illuminating the changes and development in coiffures and make-up through the centuries. With great effort and care he depicted that great cultural transition from the era of the samurai to that of Meiji modernity; he showed how the changes occurring during that immense leap affected the Japanese people of that period.

He exemplified, more than than his contemporaries, the concept of furumekashii/imamekashii3. These words describe very well the artistic chaos of the Meiji period and precisely how Chikanobu typifies this period; how the woodblock artists, to whom fell the task of limning this transitional period, were caught between Scylla and Charybdis: clinging to tradition with one's dying breath elucidating the historical versus providing a preview of the future looking through tomorrow's window: looking backwards for inspiration versus being considered up-to date and modern.

Like the majority of his contemporaries, he worked mostly in the ōban tate-e4 format. There are quite a number of single panel series, as well as many other prints in this format which are not a part of any series. In addition, there are number of sheets of sugoroku (すごろく) with his signature that still exist.

Although he is, perhaps, best known for his triptychs: single topics, and series, two diptych series are known, as well. There are, at least, two polyptych5 prints known.6

Signed illustrated books, ehon (絵本), mostly of a historical nature, which, though not rare, are not terribly common.

«publication date»7

[publisher]

He also produced several series in the ōban yoko-e8 format, which were usually then folded cross-wise to produce an album:

  • kanke jūni kagetsu no uchi (冠化十二ヶ月の内) «1880» [24] Twelve Months at Home with the Royal Ladies9
  • kyōiku azuma bijin jūni kagetsu zen (教育東美人會十二ヶ月全) 10The Education of Beautiful Women in Edo throughout the Whole Year9
  • heike monogatari (平家物語) «1898»11 [3] The Tale of the Heike
  • azuma fūzoku mokuroku (東風俗目録) «1901» [15] An Annal of Eastern Pastimes9
  • edo nishiki (江戸錦) «1903-5» [15] Edo Brocade
  • kyōiku rekishi gafu (教育歴史画布) «1906» [4] Educational Pictorial Album of History

At least one series was published in chuban yoko-e 12format:

  • zen'naku ryōtō kyōkun kagami (善悪両頭教訓鑑) «1882» [ ] An Instruction Manual Depicting the Two Heads of Good and Evil

and there is one series, attributed to Chikanobu, in chuban tate-e13 format:

  • miyako no hana iro (都の花色) «unk» probably a hikifuda (advertising circular) for cloth/clothing, published by Tōkyō hatsubaimoto (Tokyo sales agency)

In addition there is at least one harimaze-e14 series in yotsugiri15 format:

  • Tōkyō hana kurabe (東京花竸) «1879» [29] Contrasting the Flowers of Tokyo


A partial list of his single panel ōban tate-e series includes:

  • imayō bijin kurabe (今様美人竸) «1877» [27] Contrasting Modern Women
  • kagoshima yūfu den (鹿児島勇婦伝) «1877» [13] Heroines of Kagoshima
  • honchō kōtō ki (本朝皇統記) «1878» [25] 16The History of the Imperial Line of Our Country
  • azuma sugata shiki no uta (東姿四季の詠) «1879–1881» [20] Compositions in the Eastern Style for the Four Seasons
  • ei mei bushō no zu (英銘武将之図) «1880» [12] Illustrations of Unforgettably Famous Military Commanders
  • hana sugata bijin sama (花姿美人樣) «~1880» [8] Alluring Flowers as Beautiful Women
  • imayō bijin kagami (今様美人鏡) «1881» [22] Reflections of the Modern Woman
  • tō kyōgen homare no wazogi (當狂言名譽俳優) «1882» [28] Hit Plays with Famous Actors
  • tōkyō meisho kurabe (東京名所竸) «1882» [12] Contrasting Views of Famous Places of Tokyo
  • kaika kyōiku mari uta (開化教育鞠唄) «1883» [18] Songs of Enlightenment and Education
  • meiyo iro no sakiwake (名譽色咲分) «1883-4» [1] Honorable Flowers Blooming in Different Colors17
  • jiji shinpō (時事新報) «1884» The Very Latest News of Current Events
  • setsu gekka (雪月花) - Snow, Moon, Flower 18
  • gempei seisuiki (源平盛衰記) «1885» [10] A Chronicle of the Rise and Fall of the Minamoto and the Taira19
  • azuma nishiki chūya kurabe (東錦晝夜竸) «1886» [1, 10]20 Brocade of the East, A Contrast of Day and Night
  • Tokugawa kakei ryakki (徳川家系略記) «1886-7» [8] A Brief Account of the Tokugawa Lineage
  • imayō tōkyō hakkei (今様東京八景) «1888» [11] Eight Views of Tokyo Today
  • azuma fūzoku fuku tsukushi (東風俗福つくし) «1889–1890»21 [9] Customs of the Capital displayed by Homonyms of the word fuku
  • azuma fūzoku nenjū gyōji (東風俗年中行事) «1890» [11] Annual Events and Customs in the Capital9
  • nijūshi kō mitate e awase (二十四孝見立画合) «1890-1» [2] A Contrasting Parody of the Twenty-four Paragons of Filial Devotion22
  • Bakin chojutsu (馬琴著述) «1890-1» [6] Stories by Bakin
  • gentō shashin kurabe (幻燈寫心竸) «1890-2» [7] Contrasting Life with a Photograph shown through a Magic Lantern
  • fugaku shū (富嶽集) «1891» [1] A Collection of Scenes of Mt. Fuji
  • azuma kagami (東鑑) «1892» [26] Mirror of the East
  • mitate jūnishi (見立十二支) «1893-4» [6] A Contrasting Parody of the Zodiac9 23
  • fujin sokuhatsu shukuzu (婦人束髪縮圖) «1895» [17] Reduced Drawings of Western-style Hairdos for Women
  • shiki no hana kyōgen mitate (四季の花狂言見立) «1895» [16] Comparing Dramas to Flowers of the Four Seasons
  • azuma (あづま) «1896» [3] The East
  • jidai kagami (時代鑑) «1896-8» [15] A Mirror of the Ages
  • shin bijin (真美人) «1897-8» [14] Truly Beautiful Women
  • tōkyō meisho (東京名所) «1897–1902» [23] Famous Places of Tokyo
  • kagoshima eimenden (鹿兒島英名傅) [21] Chronicles of the Glories of the Satsuma Revolt

Two of his well-known ōban tate-e diptych24 series are:

  • meisho bijin awase (名所美人合) «1897-8» [15] Matching Beautiful Women with Scenic Places
  • nihon meijo to (日本名女吐) «1893» [5] Very Tall Stories about Famous Women of Japan

This is a partial list of his triptych series: 25

  • chiyoda no ooku (千代田の大奥) «1894-6» [3] Chiyoda Palace: The Inner Rooms
  • chiyoda no on-omote (千代田の御表) «1898» [3] Chiyoda Palace: Outside the Walls
  • onko azuma no hana (温故東の花) «1889» [ ] Looking into the Past: The Pride of the East
  • yamato fūzoku (倭風俗) «1892» [6] Customs of Old Japan
  • chōsenhen hō (朝鮮變報) - A Report of the Korean Disturbance
  • settsu gekka no uchi (雪月花の内) - Inside Snow, Moon, Flower
  • joreishiki no zu (女禮式の図) «1898» [9] Handbook of Ladies' Etiquette
  • nihon reikishi kyōkun jin (日本歴史教訓尽) - Complete Lessons of Japanese History
  • ima to mukashi (今とむかし) «1898» [2] Then and Now9
  • Tokugawa jidai kifujin (徳川時代貴婦人) «1896» [2] Ladies of the Tokugawa period
  • take no hitofushi (竹乃一節) «1898» [15] Verses of the Middle Rank 26


Even prior to the Meiji period publishers were known to commission several artists for a major project, although Chikanobu's contributions in this area are notably minimal. During this era, war prints 27 recorded the important battles of foreign wars28 in which Japan took part, as well as that very significant uprising against Japan's entry into the modern world by the disgruntled samurai of that era. An album of twenty-five triptychs was published in 1877 by several artists, 29 including Chikanobu, which brought to light the events of this important domestic insurrection.30

There is a newspaper series, shinbun nishiki-e (新聞錦絵), in ōban tate-e format, kyōdō risshiki (教導立志基) «1886» [4] Exemplars of Learning and Achievement, which includes two prints by Chikanobu amongst a collection of fifty three by several Meiji artists.31

Contents

Publishers

[1] Kōbayashi Tetsujirō (小林鉄次郎) was located at 日本橋区通三丁目十三番地

[2] Hasegawa Tsunejirō (長谷川常冶郎) was located at 神田区鍛治丁五バンチ

[3] Fukuda Hatsujirō (福田初次郎) was located at 日本橋区艮谷川町十九番地

[4] Narasawa Kenjirō (奈良澤健次郎) was located at 東京神田區錦町二丁目三番地

[5] Takegawa Seikichi (武川清吉) was located at 日本バン区本銀丁二丁目十二バンチ

[6] Morimoto Junzaburō (森本順三郎) was located at 浅草區瓦丁二バンチ

[7] Yokoyama Ryōhachi (横山良八) was located at下谷区スキヤ町十二バンチ

[8] Komiyama Shōhei (小宮山昇平) was located at 日本バン区本右町二丁目九バンチ

[9] Takegawa Unokichi (武川卯之吉) was located at 日本バン区本銀丁二丁目十二バンチ

[10] Tsunashima Kamekichi (綱島亀吉) was located at 日本橋区馬喰町二丁目十四番地

[11] Hasegawa Sonokichi (長谷川園吉) was located at 日本橋区小傳馬町三丁目十七番地

[12] Miura Bumei (三浦武明) was located at 浅草並木町一番地

[13] Yamamura Kinzaburō (山村金三郎) was located at 浅草吉野町五十六番地

[14] Akiyama Buemon (秋山武右衞門) was located at 日本橋區室町三丁目九番地

[15] Matsuki Heikichi (松木平吉) was located at 東京市日本橋區吉川町二番地

[16] Tsujioka Bunsuke (辻岡文助) was located at 日本椅区横山町三丁目二番地

[17] Yamaguchi Yoshi (山口芳)was located at 神田松冨丁四番チ

[18] Arita-ya (有田冶) was located at 駒込東庁町百四十七番地

[19] Hasegawa Sumi (長谷川壽美) was located at 東京市京橋区南傳馬町二丁目十七番地

[20] Toshimo Toshin (眞下常信) was located at 森川丁一番地

[21} Daikura Sonhei (大倉兵工) was located at 日本橋道一丁目十九番地

[22] Hatano Tsunesada (定多野常定) was located at 馮島六丁目廿五番チ

[23] Katsuki Yoshikatsu (勝木吉勝) was located at 東京市下谷区スキヤ町十五番地

[24] Matsui Eikichi (松井栄吉) was located at 弓町二番地

[25] Kimura Fukujirō (木村福次郎) was located at 浅草十九町二番地

[26] Murakami Takashi (村上剛) was located at 芝区高輪車丁八十三番地

[27] (亘市兵工) was located at 堀江丁二丁目十バンチ

[28] Asano Eizō (浅野栄造) was located at 上く東黒門丁十四号地

[29] Hayashi Kichi- (林吉- ) was located at 南傳馬町一丁目二番地


Footnotes

  1. ^ His earliest works were signed Yōshūsai Chikanobu (楊洲齋周延). At least one triptych from 12 Meiji (1879) exists signed Yōshū Naoyoshi (楊洲直義). There are no works in existence that are signed 'Toyohara Chikanobu' (豊原周延)
  2. ^ He died of stomach cancer in Taishō gannen (the first year of the reign), 1912 September 28th
  3. ^ As so clearly defined by Miner, Odagiri and Morrell in the Princeton Companion to Classical Japanese Literature, pp. 9,27.
  4. ^ The ōban tate-e (大判立て絵) format is ~35 x 24.5 cm or about 14" x 9.75" and is vertically oriented. For further information about woodblock formats, please see Woodblock printing in Japan
  5. ^ referring in this case to more than three panels
  6. ^ one of which is a five panel print from the series, "The Imperial Ladies' Quarters at Chiyoda Palace" entitled, konrei (こんれい) The Marriage Ceremony.
  7. ^ This is a date that is found either in the body or on the border of the print. This is not to be miscontrued as the actual date of printing as later versions (editions) and recuts may be found with the same publication date.
  8. ^ The ōban yoko-e (大判立て絵) format is ~24.5 x ~35 cm or about 9.75" x 14" and is horizontally positioned. For further information about woodblock formats, please see Woodblock printing in Japan
  9. ^ a b c d e f This appears to be a "calendar" series; each print depicting a specific month
  10. ^ This series was originally produced in «1897» by [19], possibly under the title jūni hito'e (十二ひと繪) Twelve Prints in Sequence (a pun on the twelve-layered kimono); it was reissued in booklet form in «1906» with the present title by [4]
  11. ^ This album has been so titled by several sources and may be incorrect; it may be the earlier printing of kyōiku rekishi gafu.
  12. ^ The chuban yoko-e (中判立て絵) format is ~19 x 25.5 cm or about 7.5" x 10" and is horizontally positioned. For further information about woodblock formats, please see Woodblock printing in Japan
  13. ^ The chuban tate-e (中判立て絵) format is ~25.5 x 19 cm and or about 10" x 7.5" and is vertically oriented. For further information about woodblock formats, please see Woodblock printing in Japan
  14. ^ A harimaze-e (張交絵) is a page of prints meant to be cut apart
  15. ^ The yotsugiri (四切り) is a comparatively rare, small print size, about 7" x 5" (19cm x 13cm), obtained by printing four prints on a oban-sized sheet
  16. ^ In this series of ōban tate-e prints each sheet is divided into quadrants displaying four emperors per page
  17. ^ It was the custom of many artists thoroughout the years to glorify courtesans and tea-house waitresses, so this title might be read: "Reputable Ladies of Different Houses.
  18. ^ This is another very common theme amongst the artists of the Meiji period. Chikanobu produced two entirely different single ōban series, as well as a triptych series, with this title. The earlier ōban series was published «1884-6 »[1] with a second edition published «1895»; the other series was published «1898–1902» [15].
  19. ^ There are two editions of this series, though both with the same publishing date. One, with an ornate, colored border, which usually contains the print number in the cartouche and the other, with a plain gray border, which is not numbered.
  20. ^ This series was printed by both publishers.
  21. ^ Many prints in this series are undated.
  22. ^ A very popular theme with several Meiji artists, depicting the Confucian exemplars of filial devotion. Their Japanese counterparts have also been portrayed, though not by Chikanobu, who uses this theme to contrast these paragons with modern Japanese women, mostly from the entertainment class.
  23. ^ The insets were done by several of his students.
  24. ^ All Chikanobu's diptychs are known only in ōban tate-e format. No vertical diptychs (kakemono-e) have come to light, as yet.
  25. ^ This list does not include his numerous kabuki scenes, which were never collated into a series, nor his many scenes of the royal family, at home and at play.
  26. ^ This series has also been called "Bamboo Knots"
  27. ^ known as sensō-e (戦争絵) and found, for the most part, in triptych format
  28. ^ The First Sino-Japanese War of 1894–1895 and The Russo-Japanese War of 1904–1905
  29. ^ Okumura Toshinobu, Hasegawa Sadanobu, Nakai Yoshitaki, Suzuki Toshimoto, et al.
  30. ^ Satsuma Rebellion
  31. ^ Kobayashi Kiyochika, Inoue Tankei, Mizuno Toshikata, Toyohara Kunichika, Utagawa Kuniaki , Taiso Yoshitoshi, et al.

Further reading

  • Bruce Coats, Kyoko Kurita, Joshua S. Mostow, Allen Hockley. Chikanobu: Modernity And Nostalgia in Japanese Prints. Leiden, Boston, Tokyo: Brill Academic Pub, 2006, ISBN 13: 978-9074-82288-6

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