Oct 15, 2025
'Bats with Umbrella and Fan', Tsukioka Yoshitoshi, c.1880s.
Loading...
seen from United States
seen from Guyana
seen from Türkiye
seen from Germany
seen from Türkiye
seen from Guyana
seen from Germany
seen from Malaysia
seen from United States
seen from Germany
seen from United States
seen from Guyana
seen from Kuwait
seen from United States
seen from United States
seen from United States
seen from Malaysia
seen from Brazil
seen from China
seen from United States
'Bats with Umbrella and Fan', Tsukioka Yoshitoshi, c.1880s.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Contextless doodles from a while ago and not-so-a while ago
Sakai x Yoshitoshi
"One Hundred Aspects of the Rabbit."
11x17 Ink and Watercolor Commission
The Moon through a Crumbling Window (Bodhidharma), woodblock print by Tsukioka Yoshitoshi from the series One Hundred Aspects of the Moon, 1887
One Hundred Aspects of the Moon - Benkei and the Moon at Daimotsu 1886 Tsukioka Yoshitoshi , (Japanese, 1839-1892) Meiji era
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
nebulove // a still life
Yoshitoshi The Fever of Taira no Kiyomori 1883 Color woodcut triptych 35.9 x 71.8 cm (image)
Book 571
Yoshitoshi’s One Hundred Aspects of the Moon
John Stevenson and Min Yee
San Francisco Graphic Society 1992
Tsukioka Yoshitoshi (April 30, 1839–June 9, 1892) is widely considered the last great master of ukiyo-e woodblock printing and painting. Part of what makes his work so unique is that his career spanned two distinct eras: the last few years of the more traditional Edo period and the beginning of the Meiji Restoration, which saw the opening of Japan to the world. And while he was as fascinated by Western modernism as most Japanese of the era, as he became older he became more and more concerned about the loss of tradition. By his last years, he was struggling against time and technology, solely working in the traditional manner and pushing Japanese woodblock printing to new heights even as the craft was dying.
One Hundred Aspects of the Moon (1885–1892), one of his last great works, is an absolutely astonishing series. While incorporating some Western techniques, the series yet constantly looks backwards to Japan’s past; while embracing folklore, myth, and traditional noh and kabuki theater, the series breaks new ground in portraying intense facial expressions. It is these and other paradoxes that make it so utterly fascinating. Sadly, he died penniless and alone, and the series was eventually forgotten. However, over time, his unique genius was rediscovered by subsequent generations, and now his greatness is firmly established.