Yoshitoshi Tsukioka, The Story of Sakura Sogo, A New Selection of Eastern Brocade Pictures

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Artist: Yoshitoshi Tsukioka (1839-1892)
Title: The Story of Sakura Sogo
Series: A New Selection of Eastern Brocade Pictures
Publisher: Tsunashima Kamekichi
Date: 1885
Size: (L) 37.1 x 25.2 (R) 37.2 x 25.4 cm

Original Japanese woodblock print.



Yoshitoshi designed the series 'A New Selection of Eastern Brocade Pictures' when he was at the peak of his career. During this time he was also working on his acclaimed 'One Hundred Aspects of the Moon' and another series of vertical diptychs that are today considered highlights of the artist's career. 'A New Selection of Eastern Brocade Pictures' was extremely popular and some images were reprinted until the blocks were extremely worn. The subject matter of the set is mostly derived from classical Japanese historical or mythical stories, sometimes in versions known in kabuki theatre dramatisations.


Sakura Sogo was a Japanese farmer who is said to have appealed directly to the shogun in 1652 in an effort to draw attention to the injustice done by the owner of the land, Lord Hotta. In spite of their fertile lands, the farmers of Sogo's village found themselves driven to the brink of poverty and starvation while their lord continued to live high on their taxes. Sogo organised a petition to take to the shogun himself, a daring move when direct appeals were punishable by death. Lord Hotta, publicly humiliated, ordered the execution of Sogo and his family.


Yoshitoshi captures the tragedy of the family in a poignant image, with Sogo comforting two of his children, while his wife clings desperately to a younger one. The setting shows their poverty, with cracks in the walls, holes through the paper door and the snow coming through the door.

Yoshitoshi Tsukioka


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 FormatDiptych
ArtistYoshitoshi Tsukioka
SubjectMale & Female
Dimensions(L) 37.1 x 25.2 (R) 37.2 x 25.4 cm
Condition ReportSlight wear and tears, paper residue on the back, paper loss restored.