Kuniyoshi Soshimoto Ukiyo-e Masterpiece Selection: Secret Edition Kuniyoshi

Dieses au�rgew�hnliche Buch mit Leinen bezogenes Hardcover-Buch im originalen Hardcase, das mit handgemachtem japanischem Washi-Papier ausgekleidet ist. Das Hardcase hat eine zus�liche Papph�lle mit aufgedruckten Informationen auf dem R�cken. Der Leineneinband sowie die inneren Vorder- und R�ckseiten sind mit geometrischen Mustern verziert. Zus�liches traditionelles handgemachtes japanisches Washi-Papier, das die vordere und hintere Innenabdeckung s�t. Innerhalb des Buches befinden sich einige Ausklappseiten und Klappen. Enth� mehr als 80 Farbdrucke mit historischen Referenzen f�r die Bilder, die f�r jedes Bild im Index ins Englische �bersetzt wurden. About the artist: "Utagawa Kuniyoshi is commonly known as Igusa Magosaburo. He is also referred to as Ichiyusai or Chooroo. He was born in November 15, 1797, in the Kanda Moto-shirogane-cho section of Edo. HIs father was YYanagiya Kichiemon and his mother from the Kojiya family. They were dyers. At the age of twelve, Kuniyoshi's artistic talents gained him entry to the Toyokuni School. There, under the tutelage of Kuninao, he improved his technique and studied oil painting.After his decade of obscurity, he embarked upon five major color print panels, including the famous "Prowness of the Suiko-den" and "Kumonryu Shishin". His reputation and place in the ukiyo-e world thus established, he won later renown with his intrepid, minute, and elaborate pictures of warriors, a field that he virtually monopolized. He also did such masterpieces as "Collection of 100 Sketches" and "Minamoto no Yorimitsuko no Yakata Tsuchigumo Yokai o nasu no zu" as well as the Western-Style "Ambiguity" demonstrating prolific creativity. It was around 1830 that Kuniyoshi turned his brush to Enpon, and he demonstrated his outstanding expressiveness in pictures of beautiful women." List of Prints: Hanagoyomi (As the Flowers Like) - Color prints on Hanshi Paper: 3 Vols. Published in 1835; Nos. 1-13 - "The title is metaphorical for the pleasure-filled style of the courtesans of Fukagawa and Yoshiwara. The different pictures are unrelated. This is one of the most outstanding of all of Kuniyoshi's Enpon works. No. 1: Reclining figures of a Yoshiwara courtesan and her customer. No. 2: Lovers' quarrel between a Fukagawa prostitute and a customer. No. 7: A Scene at the Suzaki brothel in Fukagawa. No. 11: Fire in an unlicensed red-light district. This picture has the movement characteristic of Kuniyoshi." Hanaikada: Color prints on Hanshi Paper, 3 Vols. Published in the Tempo Era (1830-1844); Nos. 14-20 - "The pictures are filled with that sense of activity and movement seen in Kuniyoshi's Warrior art. This was published half a year later than Hanagoyomi. The text is a serialiyed novel running through all three volumes." Oeyama: Color prints on Hanshi Paper; 3 Vols. Published in the Tempo Era (1830-1844); Nos. 21-32 - "The first half of Vol. 2 is an erotic adaptation of the famous scenes from the kabuki comedy "Oyobanu Ude, Tsuna no Kao-mise" (Inadequate Prowess and teh Appearance of Tsuna). Each picture is independent of the rest. After Vol. 2, it is an ordinary magazine of erotica. These pictures are from when Kuniyoshi was 34 or 35 and his artistic powers at their height." Shunshoku Ume-Kurabe: Big-size color prints; 3 Vols. Date of publication unknown; Nos. 33-35 - "This is a work adapating large color prints to the magazine format. It centers on observations. Without the movement of Oeyama, the sketches are strongly slanted in clothing and other features to ancient court practices." Tsukushi-Matsufuji no Shigarami: Big-size color prints: 3 Vols. Published in 1830; Nos. 36-38: "These are from the significant Tsukushi-Matsufuji erotic rendition of the then-very popular kabuki comedy Tensaku Tsukushi no Ietsuto. No. 36: Man and Two women warming themselves. Note the sleight of foot." Irogunki: Big-size color prints; 2 Vols. Date of publication unknown; Nos. 39-43 - Publication is estimated as late in the Kae Period (1848-1854). "The colors are bright and detailed. It is a polished woodblock print technique. The picture sgenerally follow the text. The text, "Inran-gun-ki" (Chronical of Lecherous Soldeiers), is a hilarious story, a tale of valor of absurdly immense weapons. In the story, the unflinching Shichikusaya Shirohei hears that Yugennodokyo, who has monopolized the empress's favors in the Kyoto court, is seeking out all the heavy-hung men in the empire and having them butchered." Haru no Karine: Color prints on hanshi Paper; 3 Vols. Date of publication unknown; Nos. 44-48 - "This is suspected of being a revision of an earlier work, since there are differences in the content (coloration) in different editions. No. 44: An erotic cartoon reminiscent Kunisada. Amorous woman and yound men." Azumaburi: Color prints on Hanshi Paper; 3 Vols. Published in 1831; Nos. 49-50 - "This is a book of erotic renditions of the famous scenes from kabuki. No. 49: Depicts the last scene of married life in a lovers' quarrel. From the "shagiri" music that marks the end of each act of kabuki. No. 50: Danmari (This is a kabuki term for an acting technique in which the characters on the stage remain mute and grope their way in the dark.)" Oogi-e (Fan Pictures): Color prints on small-leaf paper - Date of publication unknown; Nos. 52-56: These are small-leaf pictures probably meant to be given as New Year's presents. Enseki Zasshi: Color prints on large paper folded over; 3 Vols. Published in 1833: Nos. 58-62 - No. 58: "An erotic cartoon in the style of hte pictures of actors. No. 59: A love scene between a warrior and his wife entitled "Mononofu no Kuse"." Enpon Shusei (Fragmentary Erotica): Books in color: Published in Bunsei - Bunkyu Era (1818-1863); Nos. 63-94 - "Although virtually all of his works are three-volume sets, these are fragmented works where not all three volumes have been found. Some of the pictures match the texts, but more often the two are independent erotica. All of them bear Kuniyoshi's hidden signature. No. 90-94: Yako no Tama, vol. 2 only. This is an erotic up-dating of the Sassho Seki Legend. This is one of Kuniyoshi's early works and there is still some immaturity in the pictures of women."

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