Yoshitoshi Tsukioka, Water Margin of the Tempo Era


Artist: Yoshitoshi Tsukioka (1839-1892)
Title: Kogakura Kiritaro Saving Seiriki's Life at Otawara
Series: The Water Margin of the Tempo Era
Publisher: Takeda Heiji
Date: c. 1860s-1880s
Dimensions: (L) 35.6 x 23.5, (C) 35.5 x 23.5, (R) 35.6 x 23.6 cm

Original Japanese woodblock print.

Suikoden (Water Margin) is a 14th century Chinese novel about 108 rebels and heroic bandits. The characters were also outlaws and brigands, seen as men of honour who would rebel against bureaucracy, a Robin-Hood-like band that made the story of a revolutionary novel with implications resenting the authority of the time. Kuniyoshi Utagawa, Yoshitoshi's teacher, rose to success after designing a series of prints focusing on the Suikoden theme.


Throughout Japanese history, Suikoden has related to people in different ways depending on the reality of the time. Yoshitoshi himself used the theme of the famous heroes in numerous prints. When this particular design was published, Japan was on the verge of leaving behind the Edo period (1603 - 1868) and embarking on a process of modernisation throughout Meji period (1868 - 1912). Many conflicts broke out, some more violent than others. Yoshitoshi's depiction of the heroes takes a more realistic approach, a trademark that will characterise his work in those turbulent times.

Yoshitoshi Tsukioka (1839 - 1892)

Yoshitoshi Tsukioka was one of the leading woodblock print artists during the Meiji era (1868-1912) and one of the last to work in the traditional ukiyo-e manner. Born in Edo (today’s Tokyo), he showed a strong interest in classical Japanese literature and history. When he was 11, he became a student at Kuniyoshi Utagawa’s studio. Under his teacher’s guidance, he showed exquisite draftsmanship and learned how to draw from life, something not necessarily part of the training schools of painting and illustration in Japan.

Yoshitoshi’s rise as an artist came at a time when Japan was faced with great changes and challenges. The new Meiji era (1868-1912) brought many conflicts between those loyal to tradition and those wishing to embark on a process of forced modernisation and adoption of western values. These sentiments, along with having witnessed some of the violent uprisings, influenced his early career, with intense, often disturbing images that reflect turmoil and pain. Even so, many other prints from this early period show whimsical touches, with reinterpretation of themes seen in his teacher Kuniyoshi’s works. With deep cultural roots, Yoshitoshi’s style was dynamic and distinctive: he was known for experimentation in style and genre, as well as for his innovative works. He worked on series depicting kabuki actors, bijinga (pictures of beautiful women), warriors, monsters and ghosts. Supernatural themes abound in his later work, showing a fascination for old Japanese folk stories.

The publishing of Yoshitoshi’s most popular series 'One Hundred Aspects of the Moon' commenced in 1885 and spanned a wide variety of subjects, such as warrior, animals, ghosts, natural phenomena, beauties and others. The artist’s early tendency for gore and horror was replaced by images of lyricism, calm, spirituality and psychological depth. 'Thirty-two Aspects of Customs and Manners', published in 1888, shows Yoshitoshi’s ability to portray emotions like no other artist of his time, presenting women of various background and eras in Japanese history, each with distinct traits.

In 1889, the series 'New Forms of Thirty-six Ghosts' started to be published, showing images of apparitions, mostly based on folklore and plays, depicted powerfully and imaginatively. This was, perhaps, a catharsis for the artist who claimed to have seen ghosts and strongly believed in supernatural beings. Many of Yoshitoshi’s late works were acclaimed at a time when western techniques of mass production such as photography were making the woodblock obsolete, breaking new ground by portraying intense human feelings through a traditional medium. He became a master teacher and had notable pupils such as Toshikata Mizuno and Toshihide Migita.

More Information
Print FormatTriptych
ArtistYoshitoshi Tsukioka (1839 - 1892)
SubjectSamurai & Male
Size(L) 35.6 x 23.5, (C) 35.5 x 23.5, (R) 35.6 x 23.6 cm
Condition ReportSome wear on the corners and edges. Small tear at the bottom of the right print. Paper residue on the back edges.