#ukiyo-e print

MWW Artwork of the Day (11/4/17) Utagawa Kuniyoshi (Japanese, 1797-1861) Takiyasha the Witch (c. 1844) Triptych; Color woodblock prints Victoria & Albert Museum, London

"Takiyasha the Witch and the Skeleton Spectre" is a woodblock print by Kuniyoshi, who was especially renowned for his depictions of historical and mythical scenes. This print combined these two subjects in portraying the tenth-century princess Takiyasha summoning a skeleton spectre to frighten Oya no Mitsukuni.  In the image, the princess recites a spell written on a handscroll, summoning a giant skeleton. It rears out of a black void, crashing its way through the tattered palace blinds with its bony fingers to menace Mitsukuni and his companion.

The historical Princess Takiyasha was the daughter of the provincial warlord Taira no Masakado, who tried to set up an "Eastern Court" in Shimosa Province in competition with the emperor in Heian-kyo (modern Kyoto). Masakado's rebellion was put down in the year 939 and he was killed. After his death, Princess Takiyasha continued living in the ruined palace of Soma.  This print shows a mythical episode in which the emperor's official, Mitsukuni, comes to search for surviving conspirators.

MWW Artwork of the Day (8/26/17) Katsushika Hokusai (Japanese, 1760–1849) Poem by Kakinomoto Hitomaro (1839) from the series "One Hundred Poems Explained by the Nurse" Polychrome woodblock print, 25.7 x 37.1 cm.

This print is from Hokusai's last important print series, left incomplete at his death. "One Hundred Poems by One Hundred Poets" is a famous anthology of classical waka poems.   

Kakinomoto Hitomaro (active late seventh–early eighth century), the author of this poem, was known for his intense language and subject matter. Like Hokusai, he had a gift for observation and for finding the human inflection in landscape.

Ashibiki no yamatori no o no hidari o no hitori ka mo nemu

Trailing, the mountain pheasant's tail long and longer this night too, spent along will be.

MWW Artwork of the Day (7/29/17) Kitagawa Utamaro (Japanese, 1754–1806) Seeing a Performance (1789) Polychrome woodblock print 22.9 x 37.1 cm. The Metropolitan Museum of Art, New York (Samuel Isham Gift)

A monkey performance is being held at the home of a samurai (seated at the lower left) to ensure good luck during the coming year. The artist's suspension of two figures in half-silhouette is a unique usage of the convention. These women behind a sudare byobu (bamboo-slat screen) can view the festivities privately. To simulate the screen's diffusing quality, Utamaro softened the women's features in comparison to the other figures.

Utamaro also dealt with the theme of voyeurism in this ehon (illustrated book) of kyoka (comic poetry), containing five double-page scenes of New Year's Day celebrations. The exquisite workmanship of this print is typical of ehon portfolios, which were commissioned by connoisseurs and consequently utilized only the finest ink, paper and bindings. A monkey performance is being held at the home of a samurai (seated at the lower left) to ensure good luck during the coming year. The artist's suspension of two figures in half-silhouette is a unique usage of the convention. These characters —- the samurai's wife and her attendant —- are seen behind a sudare byobu (bamboo-slat screen), where they can view the festivities privately. To simulate the screen's diffusing quality, Utamaro softened the women's features in comparison to the other figures. Likewise, Utamaro isolates the pair through his monochrome treatment that is in somber contrast to otherwise rich color and sprinkled gold.

MWW Artwork of the Day (4/30/16) Suzuki Harunobu (Japanese, 1725–1770) Woman Admiring Plum Blossoms at Night (c. 1764-68) Polychrome woodblock print w/ embossing (karazuri), 32.4 x 21 cm. The Metropolitan Museum of Art, New York (Fletcher Fund)

In this print, one of Harunobu's most poetic images, a nymphlike beauty dressed in an elegant kimono stands holding a lantern and gazing dreamily at the plum blossoms. The image of admiring plum blossoms at night is a classical theme in the East Asian poetic tradition, and Harunobu's lyrical rendition has much in common with the art of the Heian period (794–1185). The stylized shape of the cloud at the top of the print reinforces the classical references. Harunobu and his patrons from the elite merchant and samurai classes in the capital, Edo (now Tokyo), admired the literary and cultural tradition of Kyoto, which was the capital during the Heian period.

The artist applies here one of the techniques of embossing uncolored areas. To emphasize their softness, the inner layers of the kimono and tabi socks worn by the woman are raised on the paper.

(from the MMA catalog)

Carp (Koi) in Ukiyo-e