Chikanobu Yoshu, First Visit at Zojoji Temple, The Outer Palace of Chiyoda
Artist: Chikanobu Yoshu (1838-1912)
Title: First Visit at Zojoji Temple 芝増上寺初御成ノ図
Series: The Outer Palace of Chiyoda 千代田之御表
Publisher: Fukuda Hatsujiro
Size: (L) 24.5 x 35.7, (C) 23.8 x 35.7, (R) 24.3 x 35.7 cm
Original Japanese woodblock print.
'The Outer Palace of Chiyoda' is a companion series to 'The Inner Palace of Chiyoda'. It depicts the life of male members of the royal court and historic scenes from the outside walls of Chiyoda Palace.
During the Edo period it was forbidden to publish images of the ruling Tokugawa family or events connected to the Tokugawa clan. With the Meiji restoration came a relaxation of those laws and the public was finally able to indulge in images that portrayed the old ruling family, their daily life and activities and even historical events related to them.
|Artist Name||Chikanobu Yoshu|
|Title||First Visit at Zojoji Temple|
|Subject||Samurai & Male, Landscapes|
|Dimensions||(L) 24.5 x 35.7, (C) 23.8 x 35.7, (R) 24.3 x 35.7 cm|
|Condition Report||Light soiling, vertical creases and light tears on the sides.|
Chikanobu Yoshu was a woodblock print artist from the end of the 19th century. He was one of the most prolific woodblock print artists of this period, working with both traditional subjects, such as actors, courtesans, scenes of famous sites, beautiful women, and with topical subjects, such as war and rebellion. Born into a samurai family in Echigo province, Chikanobu became one of the final, great, ukiyo-e artists aiming to preserve the traditional culture of Japan at a time when the country was becoming rapidly modernised. As a child, he studied Kano style painting. When he moved to Tokyo he studied print design first at the studio of Kuniyoshi Utagawa (1797-1861) and later on at that of Kunisada I Utagawa (1786–1865).
The end of the Edo period (1603-1868) and the beginning of the Meiji period (1868-1912) brought a rapid influx of Western values and technologies that influenced many artists of this time, including Chikanobu. As a result, he developed a distinctive personal style blending a close adherence to the traditional technique of ukiyo-e, and occasional western imagery. He designed prints rooted in traditional myths and legends but also kaika-e, prints that documented Japan's modernization, the Emperor Meiji and the imperial court's promotion of that modernization.
Even though Chikanobu’s prints showcase a variety of subjects, due to the wealth of his beauties and court ladies works, it is believed that the customs and events of the imperial family were his favourite subject. Out of these prints, the most well-known series is probably ‘The Inner Palace of Chiyoda’ (‘Chiyoda no O-oku’), which depicts the court life in the palace of the Tokugawa shogunate. Influenced by the rapid changes happening in Japanese society following the Meiji restoration, Chikanobu also produced beauty prints showing ladies in Western clothing, as opposed to kimono. Chikanobu's last works in the early years of the 20th century featured brave samurai and heroic women of Japan's past, models of appropriate behaviour for the future.