Plate #22 from "53 Stations by Two Brushes" Okabe. Publisher's Seal: Marukyu. This place is called Okabe. The 22nd stop. This is a variation from the key form. The two artists, Hiroshige and Kunisada are in collaboration for this print. Upper part consists of a snow view by Hiroshige, and the lower part, the large figure of a warrior by Kunisado, over the signature of Toyokuni.
Title:"The Event of the Year, 1875, Meija Era". Triptych. Signed by: Yoshitoshi (1839-1892). Publisher's Seal: Okura. Yoshitoshi is a pupil of Kuniyoshi, was the last artist of the old school. His life embraced the period which saw the extinction of Ukiyoye, and the establishment of the new. This picture is more related to the new. It can be seen by the costumes of the women. These were worn up til the end of Meiji Era, and could be seen worn by the Empress on special occasions, even today. This it the Empress and her court in 1875, leaving the palace grounds for a ceremonial rite. It happens to be raining a little.
Title:"The Event of the Year, 1875, Meija Era". Triptych. Signed by: Yoshitoshi (1839-1892). Publisher's Seal: Okura. Yoshitoshi is a pupil of Kuniyoshi, was the last artist of the old school. His life embraced the period which saw the extinction of Ukiyoye, and the establishment of the new. This picture is more related to the new. It can be seen by the costumes of the women. These were worn up til the end of Meiji Era, and could be seen worn by the Empress on special occasions, even today. This it the Empress and her court in 1875, leaving the palace grounds for a ceremonial rite. It happens to be raining a little.
Title:"The Event of the Year, 1875, Meija Era". Triptych. Signed by: Yoshitoshi (1839-1892). Publisher's Seal: Okura. Yoshitoshi is a pupil of Kuniyoshi, was the last artist of the old school. His life embraced the period which saw the extinction of Ukiyoye, and the establishment of the new. This picture is more related to the new. It can be seen by the costumes of the women. These were worn up til the end of Meiji Era, and could be seen worn by the Empress on special occasions, even today. This it the Empress and her court in 1875, leaving the palace grounds for a ceremonial rite. It happens to be raining a little.
Title:"Figure Study of a Beautiful Entertainer". Signed by: Yeizan (Kikugawa) 1800-1829. Publisher's Seal: Arita-ya. It is commented that Yeizan's pictures of courtesans are not so good. They tend to become exaggerated, and over-loaded with design, and are the work of an artist who became a poor copyist, without much of his originality, one print being very like another. He took to copying Kunidada's full-length figures. His earlier designs are boldly drawn, graceful, and his colors are good. This picture looks like a "shinzo", ranked next to an "oiran". This is a "Kakemono".
Title:" Full Length Portrait of a Young Man". Signed by: Yoshitoshi (1837-1892). Date: about 1975. Publisher's Seal: Yamajin. The principle underlying men's dress is the same as that of the women. The colors are generally low in tone, and decoration- if any- are limited. He is wearing a man's "hakama" (loose trousers). The flowers in his hands might suggest that he is on his way to decorate them on the graves of his ancestors. (Significance of paying respect of the dead.)
Title:"Woman Reading a Rollscript" Signed. Publisher's Seal: Wakosa-ya. In general, Kuniyoshi's figure studies are strongly drawn, often with a humouous tough. The upper section with its characters explain about a famous writing, with the writer's signature with two red seals. Japanese characters are read from right to left, up and down as this woman is supposed to be doing. The writings are centered on sentimental love sayings.