Yoshitaki Kunikazu Nansuitei Yoshiyuki 100 Views of Osaka E-Book

Cristina Berna

• Herausgeber: Books on Demand
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2023

Seitenzahl: 134

Beschreibung

Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a Famous to the title. This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki. All 104 prints are included here. Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856 1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections.

Leseprobe

About the authors

Cristina Berna loves photographing and writing. She also creates designs and advice on fashion and styling.

Eric Thomsen has published in science, economics and law, created exhibitions and arranged concerts.

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Contact the authors

[email protected] Published by www.missysclan.net

Cover picture: Front: Gappô-ga-tsujii intersection at the Shitennô-ji Temple (Shitennô-ji Gappô-ga-tsuji), Nansuitei Yoshiyuki

Inside: The Precincts of the Shitennô-ji Temple (Shitennô-ji garan) (detail), Utagawa Kunikazu

Contents

Introduction

Utagawa Yoshitaki

Utagawa Kunikazu

Nansuitei Yoshiyuki

Publishers

100 (Famous) Views of Osaka

Title pages

View of the Sakura-no-miya Shrine

Arched Bridge at the Sumiyoshi Shrine

The Zesai Pharmacy in Tenga-chaya

Cherry Blossoms in the Evening at Kuken

Stonemasons' Landing on the Nagahori Canal

The Temple of Amida Pond

Tenma Greengrocers' Market

The Kôzu Shrine

Imamiya Ebisu Shrine

NIght Snow at the Ukamuse Restaurant in Masui

Sankô-no-miya Shrine at Sanada Hill

Ibara Sumiyoshi Shrine

Yotsubashi Bridge

Zakoba Fish Market

Festival Parade Floats Entering the Tenma Tenjin Shrine

Lumber Market at the Nagahori Canal

The Pine Tree of the Reversed Oars in Fukushima

Juhô-ji Temple

Flowering Plum Garden

Yamato-bashi Bridge in Sumiyoshi

The Pine Tree of Priest Rennyo at Morinomiya

Zakoba-Tsukiji and Kawaguchi

Peach Blossoms in Bloom at Nonaka Kannon Temple

Wisteria in Noda

Kishi Pine Grove in Sumiyoshi

Hirota Shrine

Shari-ji Temple

Behind Nagamachi, a Distant VIew of the Namba-kura

Masui Well at Tennô-ji Temple

Matsuya Draper`s Shop

Dock at Eitai-hama

Shrine of the Goddess Benzaiten at Asazawa

The Temple of the Five Great Power Bodhisattvas

The Precincts of Shitennô-ji Temple

Taiyu Temple in Kitano

Temple of the Goddess Kishibojin at Hamamura

Mishima

View of Tamae-bashi Bridge

The Sujigane Gate of Osaka Castle

Genpachi Ferry Terminal

Bleached Cotten Riverbank at Kunijima

Myôken Temple Embankment in the North

Riding Ground of Osaka Castle

Pine Tree Point

View of Nabeshima Area from Ôe-bashi Bridge

Votive-Picture Hall of the Shrine at Ikutama

Kawasaki Tôshôgû Shrine

Evening View of Hachiken'ya

Sumiyoshi Lighthouse

Enjoying the Cool of the Evening at Naniwa-bashi

Tokifune-chô

Lattice Window in Shinmachi

View of Two Tea Houses

Ima-bashi Bridge and the Tsukiji Area

Riding Ground of Sôzen-ji Temple

Aji River Bridge

Dôjima Rice Market

Night View of the Octopus Pine

Evening View of the Tenjin Festival

Main Shrine of Sumiyoshi

Nagara -Mitsugashira

Resting Place for the Sacred Palanquin

View of Amijima

Shingon Slope

View of Tenma-bashi Bridge

The Hyôtei Restaurant in the Northern District

Three Great Bridges

Kado-za Theater at Dôton-bori

The Two Hongan-ji Temples

Mitsui Draper’s Shop

The Temple of the Eguchi Courtesan

Gappô-ga-tsuji Intersection at Shitennô-ji Temple

Irises at Urae

Kobore-guchi

Peonies in Full Bloom in the Garden of Kichisuke

Okachi-yama Mound

Tenman-gû Shrine in Sata Village

Jinbei the Ferryman`s Hut

Chausu-yama Hill

Evening View of Kakuman-ji Temple

The Nakamichi Highway in the Jûsô Area

Dôton-bori Canal and Tazaemon-bashi Bridge

Shitennô-ji Temple

The Thousand Pine Trees at the Mouth of the Kizu

Inari Shrine at Star Pond in Hirota

Ajihara Pond at the Ubuyu Shrine

Kema

Evening View of Benten Pond in Ikutama

Tenpô Hill

Waterfall at Maple Slope, Shin-Kiyomizu Temple

Yasui Tenjin Shrine

Kyô-bashi Bridge

Hall of the Wisdom King Aizen at Shôman-in Temple

Zuiken Hill in the Lower Aji-kawa River

Residence of the Lord of Bizen at Horikawa

Moon-viewing at the Saishô-an Restaurant

The Temple of the Travelling Priests at Chausu-yama

Hinokuchi in Tenma

Moon-viewing at Kawasaki Ferry

Evening View of Tetsugen-ji Temple

References

Notes

https://commons.wikimedia.org/wiki/File:%E3%82%82%E3%81%8F%E3%81%981_(%E6%B5%AA%E8%8A%B1%E7%99%BE%E6%99%AF).jpg

Introduction

Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a “Famous” to the title.

This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki.

Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 18561859.

This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections.

Hiroshige I had done his own series Famous Views of Naniwa (Osaka), 10 prints, as early as 1834, but it was his 100 Famous Views of Edo that caused the significant copy production.

Copying ideas and prints was quite normal in the Edo Period Japan print business.

Utagawa Yoshitaki

Utagawa Yoshitaki (歌川 芳滝, April 13, 1841 – June 28, 1899), is also known as Ichiyōsai Yoshitaki (一養斎 芳滝). Yoshitaki was a Japanese designer of ukiyo-e woodblock prints who was active in both Edo (Tokyo) and Osaka.

He was also a painter and newspaper illustrator. His father was a paste merchant, and Yoshitaki became a student of Utagawa Yoshiume (1819– 1879). Yoshitaki was the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors. Judging from archives of sold prints since 2001, most of Kunikazu's output were actor and kabuki theater subjects. But he also made a few landscape series. One is titled Hundred Views of Naniwa - Naniwa Hyakkei published by Wataki.

Naniwa is another name for Osaka. After the success of Hiroshige Ando (Hiroshige I) in the landscape genre, these Views of ... series had gained some popularity among the Japanese print buying public.

His earliest prints were published when he had barely entered his teens. In 1855 he left Yoshiume to be an independent artist. For a period of twenty years, Yoshitaki was the most prolific of Osaka print artists, producing more than 1,200 designs, nearly all yakusha-e (actor pictures.) In addition to creating woodblock prints of actors and of landscapes, Yoshitaki, using the artist names Sasaki Yoshitaki 笹木芳瀧 (starting in 1875) and Nakai Yoshitaki 中井芳瀧, created (wrote and illustrated) specialized woodblock prints called nishki-e shinbun for several Osaka newspapers including the Osaka nishikiga shinbun, Osaka nishikie shinwa, Kanzen choaku nishikiga shinbun, and Shinbun zue. Yoshitaki also remained active as a painter, exhibiting both in Japan and internationally, winning bronze medals at the first two Naikoku Kaiga Kyoshin Kai (National Paintings Fair) in 1882 and 1884 and a meritorious mention at the fourth Naikoku Kangyo Hakurankai (National Expo for the Promotion of Industry.)

As with many woodblock artists he also worked as a commercial artist, creating theater billboards and illustrations for a sake company.

In 1880, he moved to Kyoto and in 1885 he moved to Sakai where he died in 1889. He is buried at Nanshuji on Ryukozan in Sakai.

Utagawa Kunikazu

Utagawa Kunikazu (歌川国員) also known as Utagawa Isshusai was born around 1830 and died in 1919. He had a famous teacher, the ukiyo-e artist Kunisada Utagawa, who at his time was considered the best ukiyo-e artist.

Best or not, Kunisada was quite successful and maintained a huge studio with many young students who may have produced a large number of the many thousands of designs that were published under Kunisada's name.

Kunikazu Utagawa was a printmaker from Osaka. The Osaka printmakers are known among collectors of Japanese prints for their production of kabuki theater prints and actor portraits in a somewhat peculiar style. Kunikazu however was more of an all-round artist. Apart from the theater prints, he made also landscape designs and even kuchi-e.

The writer Laurance P. Roberts lists Kunikazu Utagawa in his Dictionary of Japanese Artists as a "highly accomplished technician".

This is mentioned by the famous Japanese print dealer Dieter Wanczura that this only as a humorous side note as Roberts usually regards all Japanese printmakers after Utamaro as hardly noteworthy examples of decline and as minor artists. How kind that this man does at least concede the status of a "highly accomplished technician". The influence of Hiroshige's vertical ôban series 'Meisho Edo hyakkei' ("One Hundred Famous Views of Edo," issued from 2/1856 through 10/1858) on Kunikazu's Tamae print is, of course, obvious - note the virtual copying of the series and title cartouches and many of the prints. Still, Kunikazu’s prints could hardly be mistaken for a design by Hiroshige. Kunikazu emphasized the receding perspective and there is often obvious humor in the choreographed placement of his figures.

Woodblock prints by Kunikazu Utagawa are like most prints by Osaka artists, rather inexpensive and thus affordable for all kinds of art budgets.

Nansuitei Yoshiyuki

Nansuitei Yoshiyuki (南粋亭芳雪). Also known as Mori Yoshiyuki, Nansui, Mori Yonejiro, Rikukaen (Rikkaen), Rikukaken (Rikkaken), Keisetsu. Born 1835 and died 1879.

Rakkaken Yoshiyuki (六花軒芳雪) was a student of Yoshiume (1819-1879). He should not be confused with the Edo artist Ichireisai Yoshiyuki (active 1850s - 1860s), who signed with a different character for yuki and was a pupil of the famous Edo master Kuniyoshi. There was also an earlier Osaka artist named Takagi Yoshiyuki who worked in the early 1820s and used the same characters in his name as Ichireisai Yoshiyuki. It appears that Rakkaken Yoshiyuki worked in Osaka until around 1868, when he then moved to Tokyo (formerly Edo).

Nansuitei Yoshiyuki did prints of actors and landscapes, and from 1868 to 1875 of ‘civilization and enlightenment.’

Publishers

Ishikawaya Wasuke (Ishiwa) was a publisher in Osaka. He published the series Naniwa hyakkei ("One Hundred Views of Osaka").

The series Naniwa hyakkei ("One Hundred Views of Osaka") was published by Ishiwa circa late 1850s-early 1860s.

Some times the title will be with added information “One Hundred Views of [Famous Places in] Osaka (Naniwa [meisho] hyakkei).“

The prints were nishiki-e (錦絵, "brocade picture") which is a type of Japanese multi-coloured woodblock printing. The technique is used primarily in ukiyo-e. It was invented in the 1760s, and perfected and popularized by the printmaker Suzuki Harunobu, who produced many nishiki-e prints between 1765 and his death five years later. The format is called Vertical chûban.

The Utagawa Yoshiyuki (1835-1879) prints were published by a different publisher, Goryoken.

100 (Famous) Views of Osaka

Viewing Osaka through the series 100 Views of Naniwa (Osaka) is a great experience.

This series has 100 prints by three artists: Utagawa Yoshitaki, Utagawa Kunikazu & Nansuitei Yoshiyuki published by Wataki in the 1860s.

There does not appear to be any numbering.

Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 18561859.

This led to the publishing of a copy series 100 Views of Naniwa (Osaka) by other artists. Some add a “Famous” to the title. The book here is based mainly on prints in the Museum of Fine Arts in Boston online collection, Ukiyo-org and Osaka Municipal Central Library on Wikipedia commons.

Hiroshige I had done his own series Famous Views of Naniwa (Osaka), 10 prints, as early as 1834, but it was his 100 Famous Views of Edo that caused the significant copy production.

Some late-period Osaka artists such as Hasegawa Sadanobu (1809-1879), Isshûsai (Utagawa) Kunikazu (一珠齋國員 active c. 1849-1867), and Yoshitaki (1841-1899) designed landscape prints in a style derived from Hiroshige I and Hiroshige II.

But the landscape tradition as an independent genre never really took hold in Kamigata printmaking as it had in Edo, although Osaka artists frequently included abbreviated landscapes as minor motifs in their actor-print designs.

The influence of Hiroshige's vertical ôban series 'Meisho Edo hyakkei' ("One Hundred Famous Views of Edo," issued from 2/1856 through 10/1858) on “100 Views of Osaka” is, of course, obvious.

Still, the print series could hardly be mistaken for designs by Hiroshige.

This series is a well executed repetition over the format by Hiroshige, for Edo, but now for Osaka. It is an invaluable documentation of the city and its surroundings, even if the artistic originality is lesser.

Perhaps there is even a spot of provincial rivalry – so ein Ding müssen wir auch haben… (Such a thing we must also have…) as the Germans say.

Sadanobu was perhaps the most successful Osaka artist in the landscape genre, for although his style was derivative, he did design successful landscapes sets, including horizontal chûban of views of Osaka (Naniwa hyakkei no uchi, "One Hundred Views of Osaka" apparently with 62 known prints) and Kyoto (Miyako meisho no uchi, "Famous Places of Kyoto") for the publisher Wataki in the late 1850s (more than 120 designs were published for this series, an obvious indication of its popularity among the print-buying public). Other publishers and artists quickly decided to join this brief Osaka landscape competition.

A representative example is a chûban view by Kunikazu titled Tamae bashi-kei ("View of the Tamae Bridge") see below, published by Ishiwa circa late 1850s-early 1860s in the series Naniwa hyakkei ("One Hundred Views of Osaka"). Designs for this series are also known by Yoshiyuki and Yoshitaki (published by Ishiwa). The Utagawa Yoshiyuki (1835-1879) prints were published by a different publisher, Goryoken.

The authors have chosen to include the series of all these three artists in this one volume for convenience, to make the comparison to Hiroshige, just as MFA and Osaka Library does in their internet publication.

Kunikazu contributed to a related series entitled Miyako hyakkei ("One Hundred Views of Kyoto") published by Ishiwa and also involving the artists Umekawa Tokyo (active circa mid 1850-early 1860s), Gyokuen (active circa 1830s-early 1860s), and Hokusui (active circa mid to late 1850s). Kunikazu also designed ôban landscape prints derivative of Hiroshige for a series issued circa 1847-1852 that was titled Tôto meisho ("Famous Views of the Eastern Capital").

In this volume:

Yoshitaki is represented with 33 prints

Kunikazu is represented by 38 prints

Nansuitei Yoshiyuki is represented by 29 prints

Total 100 plus two title pages

One of two title pages for the series One Hundred Views of Osaka (Naniwa hyakkei) 1860 Ishikawaya Wasuke https://commons.wikimedia.org/wiki/File:%E3%82%82%E3%81%8F%E3%81%982_(%E6%B5%AA%E8%8A%B1%E7%99%BE%E6%99%AF).jpg

View of the Sakura-no-miya Shrine (Sakura-no-miya kei), さくらの宮景_(浪花百景) from the series One Hundred Views of Osaka (Naniwa hyakkei) Height: 24.8 cm (9.7 in) Width: 17.6 cm (6.9 in), vertical chûban, nishiki-e, Utagawa Yoshitaki, 1860, image: Sawaaakkohttps://commons.wikimedia.org/wiki/File:%E3%81%95%E3%81%8F%E3%82%89%E3%81%AE%E5%AE%AE%E6%99%AF_(%E6%B5%AA%E8%8A%B1%E7%99%BE%E6%99%AF).jpg

Three musicians are performing on a porch by the riverside, likely at a restaurant. With his back to the viewer a man with a bamboo flute is facing two musicians playing the string Shamisen. The female musician is throwing an appreciative glance to her singing fellow band member. On the river is heavy traffic of small boats and on the far bank is a temple with flowering cherry trees, Sakura. Contrasting leisure and hard work.

Yoshitaki borrows a theme from the old master Hokusai – the itinerant musical troupe. See Hokusai’s Tōkaidō 1801 print no 26 for Nissaka – dance, ISBN 9781956215359 and Tōkaidō 1802 no 46 Shono - performance in an inn, ISBN 9781956215250 and Hiroshige’s 53 Stations of the Tōkaidō print no 13: 12th station: Numazu-juku in the Gyōsho edition from 1841 ISBN 978-1-956215-58-8.