Chikanobu Yoshu, Snow at the Park, Winter, Kimono Design
Artist: Chikanobu Yoshu (1838-1912)
Title: Snow at the Park
Series: Customs and Manners of Japan
Publisher: Morimoto Junzaburo
Size: (R)25 x 35.9 (C)25.1 x 35.9 (L)25 x 35.8 cm
Original Japanese woodblock print.
Beauties wander around the winter park of the temple premises, with wide umbrellas protecting them from the falling snow. On the left, a group of dogs fights over a straw geta sandal, cheering the ladies up and keeping them entertained. The chilly weather is clearly noticeable as some of the women wear additional layers of clothing over the usual kimono and high geta sandals to keep their feet away from the freezing snow.
The red colour of the temple buildings and patterned kimono garments strongly contrast with white-and-grey clours of the snowy landscape. A delicate embossing (karazuri) effect was applied to the fur of the playful animals.
|Artist Name||Chikanobu Yoshu|
|Title||Snow at the Park|
|Subject||Beauty & Female, Landscapes, Kimono Design|
|Dimensions||(R) 25 x 35.9 (C) 25.1 x 35.9 (L) 25 x 35.8 cm|
|Condition Report||Light water strains and red pigment smudges. Fold marks and creases along the edges. Minor spots and light paper residue on the back.|
|Series||Customs and Manners of Edo|
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.