Sep 19, 2023
Morozumi Bungo no kami Masakiyo, ca. 1849. by Utagawa Kuniyoshi
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Morozumi Bungo no kami Masakiyo, ca. 1849. by Utagawa Kuniyoshi
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Explore Utagawa Kuniyoshi's masterpiece, "Mitsukini Defying the Skeleton." Discover the captivating narrative, rich symbolism, and enduring
"Mitsukini Defying the Skeleton" is a triptych, a three-paneled artwork, a common format in Ukiyo-e art. The story unfolds from right to left, each panel progressing the narrative. The right panel reveals Mitsukini in his elegant attire, his samurai sword ready, his face resolute. The center panel portrays the gigantic skeleton, its eerie presence looming over Mitsukini. The left panel focuses on the desolate landscape, setting the stage for this supernatural showdown.
Kuniyoshi's prowess in creating tension and drama through his artistic elements is on full display in this work. The stark contrast between Mitsukini's noble demeanor and the menacing skeleton highlights the battle between good and evil, a popular theme in many of his works.
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Birds and Flowers from the series Contemporary Flowers and Birds, Wind and Moon (1847-52)
by Utagawa Kunisada (1786 - 1864)
While Japan had limited trade and contact with the West for much of the 17th through 19th centuries, things opened up in the mid-1800s. [Yōdō jizu] contains a number of interesting depictions on this modernization period, including these illustrations of famous westerners. Utagawa Kuniteru and Utagawa Fusatane are the artist listed, and there isn’t a date but it’s presumably from the 1870s. In looking for more information on these images, I came across this @publicdomainreview post that includes many of these same images, with translations. Turns out, they were from the Japanese Ministry of Education!
Make your own discovery by browsing our Japanese Illustrated Books from the Edo and Meiji Period.
The early morning sun fought hard against the rain clouds that hung over Nekojima as Minoru walked home from the beaches. He worried about the day ahead of him, worried about practicing medicine with no sleep. Too, he worried about the impression he may have left with Satoshi.
What impression had he intended to make, anyway? Certainly not that Satoshi owed him something for the listening ear, like he’d made a house call or something.
It might be best, he thought, to just close the clinic for the day and hope for no emergencies. He was too tired to think straight.
As his home came into view, he could see movement in the window above the sushi restaurant across the street. The Utagawa household. It reminded him of how he’d just given little Teru a clean bill of health last week, and how Miko’s appointment would be soon to follow. Wait, it wasn’t today, was it?