Nichosai (active from before 1751 [Hōreki 1] to around 1802-03 [Kyōwa 2-3]) was an Osaka-based ukiyo-e artist and caricaturist active during the Edo period. A disciple of Kōno school painter Koshiba Hayato, his surname remains unknown. His given name was Hanzaburō, and his common name was Matsuya Hanzaburō [2]. He used the caricature pen name Shuchūsen. He resided near Shin-Nambabashi Bridge in Kyōmachō 3-chome. Originally a sake brewer, he reportedly ran into financial difficulties and later worked as an antique dealer. It is believed he began painting only after transitioning to this business (Ōkubo Jōma, Matsuya Nichosai, Taisho 9 [1920]). His artistic career peaked during the An'ei to Tenmei periods (1772-1789) and continued into the Kansei era. Known for his distinctive Ōba-e style featuring slenderly drawn human limbs, Nichosai was particularly skilled at humor, employing extremely light and delicate brushwork to convey his ideas with remarkable economy. During the An'ei period, his folding fan paintings became extremely popular. He produced numerous works in brush-and-ink, and was also skilled at gidayū narrative chant.
耳鳥斎（にちょうさい、宝暦元年（1751年）以前 - 享和2-3年（1802-03年）頃）とは、江戸時代の大坂の浮世絵師、戯画作者。狩野派の小柴隼人の門人。姓は不明。名は半三郎。俗称松屋半三郎[2]。戯作号を酒中仙といった。京町三丁目新難波橋付近に住んでいた。元来は酒造家であったが、家産を使い果たして骨董商を営んだという。絵を描き始めたのは骨董商になってからと推測される（大久保常麿『松屋耳鳥斎』 大正9年（1920年））。安永から天明期を最盛期として寛政まで活躍した。略筆体で人間の手足を細く描いた個性的な鳥羽絵 で知られており、滑稽の才に富み、極めて軽妙な筆使いによって、粗画でその意を表すのに妙を得た。天明期には耳鳥斎の扇面が非常に流行したといい、肉筆画も多数あり、また、義太夫に巧みであった。
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