Tsukioka Yoshitoshi ( ja, 月岡芳年; also named Taiso Yoshitoshi ; 30 April 1839 – 9 June 1892) was a Japanese printmaker. Nussbaum, Louis Frédéric. (2005)
"Tsukoka Kōgyō"
in ''Japan Encyclopedia,'' p. 1000. Yoshitoshi has widely been recognized as the last great master of the

ukiyo-e Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings Painting is the practice of applying paint, pigment, color or other medium to a solid surfac ...

genre of

woodblock printing Woodblock printing or block printing is a technique for printing text, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper. Each page or image is create ...

and painting. He is also regarded as one of the form's greatest innovators. His career spanned two eras – the last years of

Edo period The or is the period between 1603 and 1867 in the history of Japan, when Japan was under the rule of the Tokugawa shogunate and the country's 300 regional '' daimyo''. Emerging from the chaos of the Sengoku period, the Edo period was characteriz ...

Japan, and the first years of modern Japan following the

Meiji Restoration The , referred to at the time as the , and also known as the Meiji Renovation, Revolution, Regeneration, Reform, or Renewal, was a political event that restored practical imperial rule to Japan in 1868 under Emperor Meiji. Although there were ...

. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like

photography Photography is the art, application, and practice of creating durable images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. It is employed ...

and

lithography Lithography () is a planographic method of printing originally based on the immiscibility of oil and water. The printing is from a stone (lithographic limestone) or a metal plate with a smooth surface. It was invented in 1796 by the German a ...

. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him. His life was summed up by John Stevenson: His reputation has only continued to grow, both in the West, and among younger Japanese, and he is now almost universally recognized as the greatest Japanese artist of his era.

Biography: The early years

Yoshitoshi was born in the Shimbashi district of old

Edo Edo ( ja, , , "bay-entrance" or "estuary"), also romanized as Jedo, Yedo or Yeddo, is the former name of Tokyo. Edo, formerly a ''jōkamachi'' (castle town) centered on Edo Castle located in Musashi Province, became the ''de facto'' capital of ...

, in 1839. His original name was Owariya Yonejiro. His father was a wealthy merchant who had bought his way into

samurai were the hereditary military nobility and officer caste of medieval and early-modern Japan from the late 12th century until their abolition in 1876. They were the well-paid retainers of the '' daimyo'' (the great feudal landholders). They h ...

status. At the age of three years, Yoshitoshi left home to live with his uncle, a pharmacist with no son, who was very fond of his nephew. At the age of five, he became interested in art and started to take lessons from his uncle. In 1850, when he was 11 years old, Yoshitoshi was apprenticed to Kuniyoshi, one of the great masters of the Japanese woodblock print. Kuniyoshi gave his apprentice the new artist's name "Yoshitoshi", denoting lineage in the Utagawa School. Although he was not seen as Kuniyoshi's successor during his lifetime, he is now recognized as the most important pupil of Kuniyoshi. During his training, Yoshitoshi concentrated on refining his draftsmanship skills and copying his mentor's sketches. Kuniyoshi emphasized drawing from real life, which was unusual in Japanese training because the artist's goal was to capture the subject matter rather than making a literal interpretation of it. Yoshitoshi also learned the elements of western drawing techniques and perspective through studying Kuniyoshi's collection of foreign prints and engravings. Yoshitoshi's first print appeared in 1853, but nothing else appeared for many years, perhaps as a result of the illness of his master Kuniyoshi during his last years. Although his life was hard after Kuniyoshi's death in 1861, he did manage to produce some work, 44 prints of his being known from 1862. In the next two years he had sixty-three of his designs, mostly

kabuki is a classical form of Japanese dance-drama. Kabuki theatre is known for its heavily-stylised performances, the often-glamorous costumes worn by performers, and for the elaborate make-up worn by some of its performers. Kabuki is thought to ...

prints, published. He also contributed designs to the 1863 ''Tokaido'' series by Utagawa School artists organized under the auspices of

Kunisada Utagawa Kunisada ( ja, 歌川国貞; 1786 – 12 January 1865), also known as Utagawa Toyokuni III (, ), was a Japanese ukiyo-e artist. He is considered the most popular, prolific and commercially successful designer of ukiyo-e woodbloc ...

The "Bloody Prints": capturing the public imagination

Many of Yoshitoshi's prints of the 1860s are depictions of graphic violence and death. These themes were partly inspired by the death of Yoshitoshi's father in 1863 and by the lawlessness and violence of the Japan surrounding him, which was simultaneously experiencing the breakdown of the feudal system imposed by the

Tokugawa shogunate The Tokugawa shogunate (, Japanese 徳川幕府 ''Tokugawa bakufu''), also known as the , was the military government of Japan during the Edo period from 1603 to 1868. Nussbaum, Louis-Frédéric. (2005)"''Tokugawa-jidai''"in ''Japan Encyclopedia ...

, as well as the effect of contact with Westerners. In late 1863, Yoshitoshi began making violent sketches, eventually incorporated into battle prints designed in a bloody and extravagant style. The public enjoyed these prints and Yoshitoshi began to move up in the ranks of

artists in Edo. With the country at war, Yoshitoshi's images allowed those who were not directly involved in the fighting to experience it vicariously through his designs. The public was attracted to Yoshitoshi's work not only for his superior composition and draftsmanship, but also his passion and intense involvement with his subject matter. Besides the demands of woodblock print publishers and consumers, Yoshitoshi was also trying to exorcise the demons of horror that he and his fellow countrymen were experiencing. As he gained notoriety, Yoshitoshi was able to have ninety-five more of his designs published in 1865, mostly on military and historical subjects. Among these, two series would reveal Yoshitoshi's creativity, originality, and imagination. The first series, ''Tsūzoku saiyūki'' ("A Modern Journey to the West"), is about a Chinese folk-hero. The second, ''Wakan hyaku monogatari'' ("One Hundred Stories of China and Japan"), illustrates traditional ghost stories. Between 1866 and 1868 Yoshitoshi created disturbing images, notably in the series '' Eimei nijūhasshūku'' ("Twenty-eight famous murders with verse"). These prints show killings in very graphic detail, such as decapitations of women with bloody handprints on their robes. Other examples can be found in the strange figures of the 1866 series ''Kinsei kyōgiden'', ("Biographies of Modern Men"), which depicted the power struggle between two gambling rings, and the 1867 series ''Azuma no nishiki ukiyo kōdan''. In 1868, following the

Battle of Ueno The was a battle of the Boshin War, which occurred on July 4, 1868 (''Meiji 1, 15th day of the 5th month''), between the troops of the Shōgitai under Shibusawa Seiichirō and Amano Hachirō, and Imperial "Kangun" troops. Prelude Though the S ...

, Yoshitoshi made the series ''Kaidai hyaku sensō'' in which he portrays contemporary soldiers as historical figures in a semi-western style, using close-up and unusual angles, often shown in the heat of battle with desperate expressions. It is said that Yoshitoshi's work of the "bloody" period has influenced writers such as

Jun'ichirō Tanizaki was a Japanese author who is considered to be one of the most prominent figures in modern Japanese literature. The tone and subject matter of his work ranges from shocking depictions of sexuality and destructive erotic obsessions to subtle por ...

(1886–1965) as well as artists including Tadanori Yokoo and

Masami Teraoka Masami Teraoka (born 1936) is an American contemporary artist. His work includes ''Ukiyo-e''-influenced woodcut prints and paintings in watercolor and oil. He is known for work that merges traditional Edo-style aesthetics with icons of American cul ...

. Although Yoshitoshi made a name for himself in this manner, the "bloody" prints represent only a small portion of his work.

The middle years: hard times and resurrection

By 1869, Yoshitoshi was regarded as one of the best woodblock artists in Japan. However, shortly thereafter, he ceased to receive commissions, perhaps because the public were tired of scenes of violence. By 1871, Yoshitoshi became severely depressed, and his personal life became one of great turmoil, which was to continue sporadically until his death. He lived in appalling conditions with his devoted mistress, Okoto, who sold off her clothes and possessions to support him. At one point they were reduced to burning the floor-boards from the house for warmth. It is said that in 1872 he suffered a complete mental breakdown after being shocked by the lack of popularity of his recent designs. In the following year his fortunes turned, when his mood improved, and he started to produce more prints. Prior to 1873, he had signed most of his prints as "Ikkaisai Yoshitoshi". However, as a form of self-affirmation, he at this time changed his artist name to "Taiso" (meaning "great resurrection"). Newspapers sprung up in the modernization drive, and Yoshitoshi was recruited to produce "news nishikie". These were woodblock prints designed as full-page illustrations to accompany articles, usually on lurid and sensationalized subjects such as "true crime" stories. Yoshitoshi's financial condition was still precarious, however, and in 1876, his mistress Okoto, in a gesture of devotion, sold herself to a

brothel A brothel, bordello, ranch, or whorehouse is a place where people engage in sexual activity with prostitutes. However, for legal or cultural reasons, establishments often describe themselves as massage parlors, bars, strip clubs, body rub par ...

to help him. With the Satsuma Rebellion of 1877, in which the old feudal order made one last attempt to stop the new Japan, newspaper circulation soared, and woodblock artists were in demand, with Yoshitoshi earning much attention. In late 1877, he took up with a new mistress, the geisha Oraku; like Okoto, she sold her clothes and possessions to support him, and when they separated after a year, she too hired herself out to a brothel. Yoshitoshi's works gave him more public recognition, and the money was a help, but it was not until 1882 that he was secure. A series of

bijin-ga is a generic term for pictures of beautiful women () in Japanese art, especially in woodblock printing of the ukiyo-e genre. Definition defines as a picture that simply "emphasizes the beauty of women", and the ''Shincho Encyclopedia of W ...

designed in 1878 entitled ''Bijin shichi yoka'' caused political trouble for Yoshitoshi because it depicted seven female attendants to the Imperial court and identified them by name, it may be that the Empress Meiji herself was displeased with this fact and with the style of her portrait in the series. Yoshitoshi published "''Mirror of Famous Generals of Great Japan''", a series of 51 works that depicted great men from

Japanese mythology Japanese mythology is a collection of traditional stories, folktales, and beliefs that emerged in the islands of the Japanese archipelago. Shinto and Buddhist traditions are the cornerstones of Japanese mythology. The history of thousands of year ...

to the

, from 1877 to 1882, and he further increased his reputation. In 1880, he met another woman, a former geisha with two children, Sakamaki Taiko. They were married in 1884, and while he continued to philander, her gentle and patient temperament seems to have helped stabilize his behaviors. One of Taiko's children, adopted as a son, became Yoshitoshi's student, and was thence known as

Tsukioka Kōgyo Tsukioka may refer to: People: *Tsukioka Settei (1710–1787), Japanese ukiyo-e artist *Kōgyo Tsukioka (1869–1927), Japanese artist of the Meiji period *Yoshitoshi Tsukioka (1839–1892), Japanese artist *Yumeji Tsukioka (1922–2017), Japanese ...

Fujiwara no Yasumasa Playing the Flute by Moonlight LACMA M

In 1883, Yoshitoshi published "''Fujiwara no Yasumasa Gekka Roteki zu''" (''Fujiwara no Yasumasa Playing the Flute'') an ukiyo-e, based on an original drawing which was exhibited at last year's exhibition of Japanese paintings. This work is based on ''

setsuwa Setsuwa (, ja, 説話, setsu wa) is an East Asian literary genre. It consists of myths, legends, folktales, and anecdotes. ''Setsuwa'' means "spoken story". As one of the vaguest forms of literature, setsuwa is believed to have been passed down ...

'' stories written in "''

Konjaku Monogatarishū , also known as the , is a Japanese collection of over one thousand tales written during the late Heian period (794–1185). The entire collection was originally contained in 31 volumes, of which 28 remain today. The volumes cover various tales fr ...

''" and "''

Uji Shūi Monogatari is a collection of Japanese tales written around the beginning of the 13th century. The author is unknown, and it may have been revised several times. The title means "gleanings from ''Uji Dainagon Monogatari''", a book which no longer exists. Th ...

''", which were compiled between the 12th and 13th centuries, and depicts a bandit, Hakamadare, trying to attack Fujiwara no Yasumasa who is playing the flute, but being unable to move because of Yasumasa's silent pressure. This work is regarded as one of Yoshitoshi's best. Yoshitoshi's notorious, yet compelling, ''“Oshu adachigahara hitotsuya no zu”'' (The Lonely House on Adachi Moor) appeared in 1885. This work depicts the legend of '' kijo'' in ''

Kurozuka Kurozuka (, "black mound") is the grave of an onibaba in Nihonmatsu, Fukushima Prefecture (previously Oodaira), Adachi District or the legend of that onibaba. It lives in Adachigahara (the name of the eastern shore of Abukuma River as well a ...

'' written in "'' Shūi Wakashū"'', which was compiled in the 11th century, and ''Kurozuka'' is also performed in ''

noh is a major form of classical Japanese dance-drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Although the terms Noh and ' ...

'', ''

'' and jōruri.Kurozuka.
Kotobank. This macabre work is iconic in its own right, and influential in the history of modern ''

kinbaku means "tight binding," while literally means "the beauty of tight binding." is a Japanese style of bondage or BDSM which involves tying a person up using simple yet visually intricate patterns, usually with several pieces of thin rope (often j ...

'', in that Itoh Seiu was fascinated by Yoshitoshi's accurate depiction of ''sakasa zuri'' (upside down suspension). An 1885 issue of the art and fashion magazine "''Tokyo Hayari Hosomiki''" ranked Yoshitoshi as the number-one ukiyo-e artist, ahead of his Meiji contemporaries such as Utagawa Yoshiiku and

Toyohara Kunichika Toyohara Kunichika ( ja, 豊原国周; 30 June 1835 – 1 July 1900) was a ukiyo-e Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada ...

. Thus he had achieved great popularity and critical acclaim. By this point, the woodblock industry was in severe straits. All the great woodblock artists of the early part of the century, Hiroshige,

, and Kuniyoshi, had died decades earlier, and the woodblock print as an art form was dying in the confusion of modernizing Japan. Yoshitoshi insisted on high standards of production, and helped save it temporarily from degeneracy. He became a master teacher and had notable pupils such as Toshikata Mizuno, Toshihide Migita, and others.

Later years: the eclipse of ukiyo-e

His last years were among his most productive, with his great series ''

One Hundred Aspects of the Moon ''One Hundred Aspects of the Moon'' or in Japanese is a collection of 100 ōban size ukiyo-e woodblock prints by Japanese artist Tsukioka Yoshitoshi printed in batches, starting in 1885 until 1892. It represents one of Yoshitoshi's later works. ...

'' (1885–1892), and ''New Forms of Thirty-Six Ghosts'' (1889–1892), as well as some masterful triptychs of

theatre actors and scenes. During this period he also cooperated with his friend, the actor

Ichikawa Danjūrō is a stage name taken on by a series of Kabuki actors of the Ichikawa family. Most of these were blood relatives, though some were adopted into the family. It is a famous and important name, and receiving it is an honor. There are a number of r ...

, and others, in an attempt to preserve some of the traditional Japanese arts. In his last years, his mental problems started to recur. In early 1891 he invited friends to a gathering of artists that did not actually exist, but rather turned out to be a delusion. His physical condition also deteriorated, and his misfortune was compounded when all of his money was stolen in a robbery of his home. After more symptoms, he was admitted to a mental hospital. He eventually left, in May 1892, but did not return home, instead renting rooms. He died three weeks later in a rented room, on June 9, 1892, from a cerebral hemorrhage. He was 53 years old. A stone memorial monument to Yoshitoshi was built in Mukojima Hyakkaen garden, Tokyo, in 1898.

Retrospective observations

During his life he produced many series of prints, and a large number of triptychs, many of great merit. Two of his three best-known series, the ''One Hundred Aspects of the Moon'' and ''Thirty-Six Ghosts'', contain numerous masterpieces. The third, ''Thirty-Two Aspects of Customs and Manners'', was for many years the most highly regarded of his work, but does not now have that same status. Other less-common series also contain many fine prints, including ''Famous Generals of Japan'', ''A Collection of Desires'', ''New Selection of Eastern Brocade Pictures'', and ''Lives of Modern People''. While demand for his prints continued for a few years, eventually interest in him waned, both in Japan, and around the world. The canonical view in this period was that the generation of Hiroshige was really the last of the great woodblock artists, and more traditional collectors stopped even earlier, at the generation of Utamaro and Toyokuni. However, starting in the 1970s, interest in him resumed, and reappraisal of his work has shown the quality, originality and genius of the best of it, and the degree to which he succeeded in keeping the best of the old Japanese woodblock print, while pushing the field forward by incorporating both new ideas from the West, as well as his own innovations.

Print series

Here is a partial list of his print series, with dates: * ''One Hundred Stories of Japan and China'' (1865–1866) * ''Biographies of Modern Men'' (1865–1866) * '' Twenty-Eight Famous Murders with Verses'' (1866–1869) * ''One Hundred Warriors'' (1868–1869) * ''Biographies of Drunken Valiant Tigers'' (1874) * ''Mirror of Beauties Past and Present'' (1876) * ''Mirror of Famous Generals of Great Japan'' (1876–1882) * ''A Collection of Desires'' (1877) * ''Eight Elements of Honor'' (1878) * ''Twenty-Four Hours with the Courtesans of Shimbashi and Yanagibashi'' (1880) * ''Warriors Trembling with Courage'' (1883–1886) * ''Yoshitoshi Manga'' (1885–1887) * ''One Hundred Aspects of the Moon'' (1885–1892) * ''Personalities of Recent Times'' (1886–1888) * ''Thirty-Two Aspects of Customs and Manners'' (1888) "Fuzoku sanjuniso – Aitasou" * ''New Forms of Thirty-Six Ghosts'' (1889–1892)

''One Hundred Aspects of the Moon''

Yoshitoshi's series ''

'' consists of one hundred woodblocks, published in his later years, between 1885 -1892. Although some prints do not depict the moon, it is a unifying motif for the whole series. File:Tsuki no yotsu no o.jpg File:YoshiOldwoman.jpg File:Yoshitoshi - 100 Aspects of the Moon - 50.jpg File:Yoshitoshi - 100 Aspects of the Moon - 27.jpg File:BodhidharmaYoshitoshi1887.jpg File:Yoshitoshi - 100 Aspects of the Moon - 22.jpg File:Yoshitoshi - 100 Aspects of the Moon - 26.jpg File:Lune Ishiyama Yoshitoshi.jpg File:Yoshitoshi - 100 Aspects of the Moon - 51.jpg File:Yoshitoshi - 100 Aspects of the Moon - 38.jpg

''Mirror of Famous Generals of Great Japan''

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Empress Jingu An emperor (from la, imperator, via fro, empereor) is a monarch, and usually the sovereign ruler of an empire or another type of imperial realm. Empress, the female equivalent, may indicate an emperor's wife ( empress consort), mother (empr ...

and

Takenouchi no Sukune or Takeshiuchi no Sukune was a legendary Japanese hero-statesman of the 1st century, and a Shinto kami. He is recorded in Japan's earliest literary texts, the ''Kojiki'' (ca. 712) and the '' Nihon Shoki'' (720). Life Takenouchi no Sukune was ...

. File:Kamitsukeno Yatsunada attacking Saohime's castle..jpg, Kamitsuke no Yatsunada attacking Saohime's castle. File:Roku Son'ō Tsunemoto.jpg, Roku Son'ō Tsunemoto (also known as

Minamoto no Tsunemoto was a samurai and Imperial Prince during Japan's Heian period, one of the progenitors of the Seiwa Genji branch of the Minamoto clan. He was a son of Sadazumi-shinnō and grandson of Emperor Seiwa. Legend has it that Tsunemoto, in his childhood, ...

). File:Hachiman Taro Yoshiie at Nakoso Barrier LACMA M.84.31.253.jpg, Minamoto no Yoshiie. File:Minamoto Yoshimitsu Instructing Toyohara Tokiaki in Music LACMA M.84.31.249.jpg, Minamoto no Yoshimitsu Instructing Toyohara no Tokiaki in Music. File:Dai nihon meishō kagami, Saimyō-ji Tokiyori nyūdō by Yoshitoshi.jpg, Saimyō-ji Tokiyori (also known as

Hōjō Tokiyori Hōjō Tokiyori (, June 29, 1227 – December 24, 1263) was the fifth shikken (regent) of the Kamakura shogunate in Japan. Early life He was born to warrior monk Hōjō Tokiuji and a daughter of Adachi Kagemori. Rule Tokiyori became shikken f ...

). File:Kusunoki Masashige Reading to His Troops at the Temple Shitennoji LACMA M.84.31.255.jpg, Kusunoki Masashige. File:Mori Motonari Attacking Sue Harutaka at Itsukushima LACMA M.84.31.247.jpg,

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. File:Toyotomi Hideyoshi and Katō Kiyomasa.jpg,

Toyotomi hideyoshi , otherwise known as and , was a Japanese samurai and ''daimyō'' (feudal lord) of the late Sengoku period regarded as the second "Great Unifier" of Japan.Richard Holmes, The World Atlas of Warfare: Military Innovations that Changed the Cour ...

and Kato Kiyomasa.

Notable artwork

File:Tukiokayositosi-YaoyaOsichi.png, "''

Yaoya Oshichi , literally "greengrocer Oshichi", was a daughter of the greengrocer Tarobei, who lived in the Hongō neighborhood of Edo at the beginning of the Edo period. She was burned at the stake for attempting to commit arson. The story (see below) becam ...

''" File:Yoshitoshi - Looking itchy - Fuzoku Sanjuniso no. 16.jpg, Design from Yoshitoshi's well-known series of beautiful women ''Fuzoku Sanjuniso'' (1888). File:Lord Sadanobu Threatens a Demon in the Palace at Night LACMA M.84.31.458.jpg, ''New Forms of Thirty-Six Ghosts'': Lord Sadanobu (

Fujiwara no Tadahira was a Japanese statesman, courtier and politician during the Heian period.Nussbaum, Louis-Frédéric. (2005). "Fujiwara no Tadahira" in ; Brinkley, Frank ''et al.'' (1915). He is also known as ''Teishin-Kō'' (貞信公) or ''Ko-ichijō Dono'' ( ...

) Threatens a Demon in the Palace at Night. File:Yoshitoshi Encountering a Demon.jpg, ''New Forms of Thirty-Six Ghosts'': Omori Hikoshichi carrying a woman across a river; as he does so, he sees that she has horns in her reflection. File:Yoshitoshi Killing of a Nue.jpg, ''New Forms of Thirty-Six Ghosts'': Ii no Hayata killing a

Nue The Nue (鵺, 鵼, 恠鳥, or 奴延鳥) is a legendary yōkai or mononoke. Appearance In the ''Tale of Heike'', it is described as a Japanese chimera having the head of a monkey, the limbs of a tiger, the body of a Japanese raccoon dog and th ...

at the imperial palace.

References

External links

Prints

Yoshitoshi.net
– Online catalogue raisonne of his work
Ukiyo-e Prints by Tsukioka Yoshitoshi

100 Views of the Moon
– The complete online reference

Biographies

– Contains images of many of his prints
Biography of Tsukioka Yoshitoshi, Ukiyo-e.com
{{DEFAULTSORT:Yoshitoshi, Tsukioka 1839 births 1892 deaths 19th-century Japanese painters Artists from Tokyo Ukiyo-e artists Artists from Tokyo Metropolis