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For other figures with similar names, see Chikanobu.

Toyohara Chikanobu (豊原周延)(c. 1838–1912), who signed his works Yōshū Chikanobu　(楊洲周延), was a prolific woodblock artist of Japan's Meiji period. His given name, as written in his obituary , was Hashimoto Naoyoshi (橋本直義).

Career

Like most ukiyo-e artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime. Like many artists of this period, he portrayed kabuki actors in character and is known for his impressions of the mie (mise-en-scène) of kabuki productions.

Chikanobu was known for his bijinga images of beautiful women and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. Chikanobu's art captured the transition from the age of the samurai to Meiji modernity. Chikanobu's work exemplified the concept of furumekashii/imamekashii. These terms characterize and label the artistic chaos of the Meiji period.

During the late Keio era and early Meiji period, Chikanobu created prints which illustrated the period of domestic unrest. These years were marked by clashes between disputing samurai forces with differing views about ending Japan's self-imposed isolation and about the changing relationship between the Imperial court and the Tokugawa shogunate. He created a range of impressions and scenes of the Satsuma Rebellion and Saigō Takamori.

Chikanobu's war prints (戦争絵, sensō-e) appeared in triptych format. These works documented the Russo-Japanese War of 1904–1905.

Formats

Like the majority of Chikanobu's contemporaries, he worked mostly in the ōban tate-e format. There are quite a number of single panel series, as well as many other prints in this format which are not a part of any series. In addition, there are number of sheets of sugoroku (すごろく) with his signature that still exist.

Although he is, perhaps, best known for his triptychs, single topics and series, two diptych series are known as well. There are, at least, two polyptych prints known. He also signed illustrated books, ehon (絵本), mostly of historical nature.

Chikanobu also produced several series in the ōban yoko-e format, which were usually then folded cross-wise to produce an album.

Selected works

These are incomplete lists, which may never be able to satisfy particular standards for completeness. You can help by expanding them with reliably sourced entries.

Ōban yoko-e

A partial list of single-panel series in ōban yoko-e format includes:

• Kanke jūni kagetsu no uchi (冠化十二ヶ月の内) {12} «1880» Twelve Months at Home with the Royal Ladies
• Kyōiku azuma bijin jūni kagetsu zen (教育東美人會十二ヶ月全) {12} The Education of Beautiful Women in Edo throughout the Whole Year
• Heike monogatari (平家物語) «1898» The Tale of the Heike
• Azuma fūzoku mokuroku (東風俗目録) «1901» An Annal of Eastern Pastimes
• Edo nishiki (江戸錦) «1903-5» Edo Brocade
• Yōchi hana (幼稚) «1905» Childhood Flowers
• Kyōiku rekishi gafu (教育歴史画布) «1906» Educational Pictorial Album of History

Chuban yoko-e

Prints in chuban yoko-e format include:

• Zen'aku ryōtō kyōkun kagami (善悪両頭教訓鑑) «1882» A Mirror of Moral Precepts Depicting the Two Heads of Good and Evil

Chuban tate-e

Prints in chuban tate-e format include:

• Miyako no hana iro (都の花色) «unk» probably a hikifuda (advertising circular) for cloth/clothing, published by Tōkyō hatsubaimoto (Tokyo sales agency)

Chuban harimaze-e

Prints in harimaze-e series include:

• Tōkyō hana kurabe (東京花竸) «1879» Contrasting the Flowers of Tokyo.

• Honcho buyū kagame (本朝武勇鑑) «1882» A Mirror of Valor in our Country

Ōban tate-e

A partial list of single-panel series in ōban tate-e format includes

• Imayō bijin kurabe (今様美人竸) «1877» Contrasting Modern Women
• Kagoshima yūfu den (鹿児島勇婦伝) «1877» Heroines of Kagoshima
• Honchō kōtō ki (本朝皇統記) «1878» The History of the Imperial Line of Our Country
• Azuma sugata shiki no uta (東姿四季の詠) «1879–1881» Compositions in the Eastern Style for the Four Seasons
• Eimei bushō no men (英銘武将之面) «1880» Faces of Famous Military Commanders
• Hana sugata bijin sama (花姿美人樣) «~1880» Alluring Flowers as Beautiful Women
• Imayō bijin kagami (今様美人鏡) «1881» Reflections of the Modern Woman
• Tō kyōgen homare no wazogi (當狂言名譽俳優) «1882» Hit Plays with Famous Actors
• Tōkyō meisho kurabe (東京名所竸) «1882» Contrasting Views of Famous Places of Tokyo
• Kaika kyōiku mari uta (開化教育鞠唄) «1883» Songs of Enlightenment and Education
• Meiyo iro no sakiwake (名譽色咲分) «1883-4» Honorable Flowers Blooming in Different Colors
• Setsu gekka (雪月花) Snow, Moon, Flower
• Gempei seisuiki (源平盛衰記) «1885» A Chronicle of the Rise and Fall of the Minamoto and the Taira
• Azuma nishiki chūya kurabe (東錦晝夜竸) «1886» {50} Brocade of the East, A Contrast of Day and Night
• Tokugawa kakei ryakki (徳川家系略記) «1886-7» A Brief Account of the Tokugawa Lineage
• tōshun sugagtami kyō (當春姿見竸) «1887» A full-length mirror contest this spring
• Imayō tōkyō hakkei (今様東京八景) {8} «1888» Eight Views of Tokyo Today
• Azuma fūzoku fuku tsukushi (東風俗福つくし) «1889–1890» Customs of the Capital displayed by Homonyms of the word fuku
• azuma fūzoku nenjū gyōji (東風俗年中行事) {12} «1890» Annual Events and Customs in the Capital
• Nijūshi kō mitate e awase (二十四孝見立画合) {24} «1890-1» A Contrasting Parody of The Twenty-four Filial Exemplars
• Bakin chojutsu (馬琴著述) «1890-1» Stories by Bakin
• Gentō shashin kurabe (幻燈寫心竸) «1890-2» Daydreams by Magic Lantern
• Fugaku shū (富嶽集) «1891» A Collection of Scenes of Mt. Fuji
• Azuma kagami (東鑑) «1892» Mirror of the East
• Mitate jūnishi (見立十二支) {12} «1893-4» A Contrasting Parody of the Zodiac
• Fujin sokuhatsu shukuzu (婦人束髪縮圖) «1895» Reduced Drawings of Western-style Hairdos for Women
• Shiki no hana kyōgen mitate (四季の花狂言見立) «1895» Comparing Dramas to Flowers of the Four Seasons
• Azuma (あづま) {24} «1896» The East
• Jidai kagami (時代鑑) {50} «1896-8» A Mirror of the Ages
• Shin bijin (真美人) {36} «1897-8» Truly Beautiful Women
• Tōkyō meisho (東京名所) «1897–1902» Famous Places of Tokyo
• Kagoshima eimenden (鹿兒島英名傅) Chronicles of the Glories of the Satsuma Revolt

Two of his well-known ōban tate-e diptych series include:

• Meisho bijin kai (名所美人合) «1897-8» An Exposition of Beautiful Women in Scenic Places
• Nihon meijo to (日本名女吐) «1893» Very Tall Stories about Famous Women of Japan

A partial list of triptych series includes:

• Edo sunago nenjū gyōji (江戸砂子年中行事) «1885» Sands of Edo - Annual Events
• Chōyō no zu (重陽之圗) «1885» Scenes from a Chrysanthemum Festival
• Fujin shoreshiki no zu (婦人諸禮式の図) «1887» Scenes of Various Women's Ceremonies
• Tosei furi (渡世振) «1887» Modern Life
• Edo fūzoku jūni kagetsu no uchi (江戸風俗十二ヶ月の内) «1889» Daily Life in Edo Throughout Twelve Months
• Onko azuma no hana (温故東の花) «1889» Looking into the Past: The Pride of the East
• Saigoku ga shū (西国雅集) «1892» A Collection of West Country Elegance
• Nihon sankei no zu (日本三景の内) «1892» Three Famous views of Japan
• Yamato fūzoku (倭風俗) «1892» Customs of Old Japan
• Chiyoda no o-oku (千代田の大奥) «1894-6» Court ladies of Chiyoda Palace
• Tokugawa jidai kifujin (徳川時代貴婦人) «1896» Ladies of the Tokugawa period
• Chiyoda no on-omote (千代田の御表) «1898» Chiyoda Palace: Outside the Walls
• Joreishiki ryaku zu (女禮式略の図) «1898» Handbook of Ladies' Etiquette
• Ima to mukashi (今とむかし) «1898» Then and Now
• Take no hitofushi (竹乃一節) «1898» Verses of the Middle Rank
• Chōsenhen hō (朝鮮變報) - A Report of the Korean Disturbance
• Settsu gekka no uchi (雪月花の内) - Inside Snow, Moon, Flower
• Nihon reikishi kyōkun jin (日本歴史教訓尽) - Complete Lessons of Japanese History

In addition, there are large numbers of three panel scenes, but with individual titles and not grouped into series. One group of these could be assembled under the heading, "The Royal Household at Play."

Publishers

Kōbayashi Tetsujirō (小林鉄次郎) was located at 日本橋区通三丁目十三番地

Hasegawa Tsunejirō (長谷川常冶郎) was located at 神田区鍛治丁五バンチ

Fukuda Hatsujirō (福田初次郎) was located at 日本橋区艮谷川町十九番地

Narasawa Kenjirō (奈良澤健次郎) was located at 東京神田區錦町二丁目三番地

Takegawa Seikichi (武川清吉) was located at 日本バン区本銀丁二丁目十二バンチ

Morimoto Junzaburō (森本順三郎) was located at 浅草區瓦丁二バンチ

Yokoyama Ryōhachi (横山良八) was located at下谷区スキヤ町十二バンチ

Komiyama Shōhei (小宮山昇平) was located at 日本バン区本右町二丁目九バンチ

Takegawa Unokichi (武川卯之吉) was located at 日本バン区本銀丁二丁目十二バンチ

Tsunashima Kamekichi (綱島亀吉) was located at 日本橋区馬喰町二丁目十四番地

Hasegawa Sonokichi (長谷川園吉) was located at 日本橋区小傳馬町三丁目十七番地

Miura Bumei (三浦武明) was located at 浅草並木町一番地

Yamamura Kinzaburō (山村金三郎) was located at 浅草吉野町五十六番地

Akiyama Buemon (秋山武右衞門) was located at 日本橋區室町三丁目九番地

Matsuki Heikichi (松木平吉) was located at 東京市日本橋區吉川町二番地

Tsujioka Bunsuke (辻岡文助) was located at 日本椅区横山町三丁目二番地

Yamaguchi Yoshi (山口芳)was located at 神田松冨丁四番チ

Arita-ya (有田冶) was located at 駒込東庁町百四十七番地

Hasegawa Sumi (長谷川壽美) was located at 東京市京橋区南傳馬町二丁目十七番地

Toshimo Toshin (眞下常信) was located at 森川丁一番地

Daikura Sonhei (大倉兵工) was located at 日本橋道一丁目十九番地

Hatano Tsunesada (定多野常定) was located at 馮島六丁目廿五番チ

Katsuki Yoshikatsu (勝木吉勝) was located at 東京市下谷区スキヤ町十五番地

Matsui Eikichi (松井栄吉) was located at 弓町二番地

Kimura Fukujirō (木村福次郎) was located at 浅草十九町二番地

Murakami Takashi (村上剛) was located at 芝区高輪車丁八十三番地

(亘市兵工) was located at 堀江丁二丁目十バンチ

Asano Eizō (浅野栄造) was located at 上く東黒門丁十四号地

Hayashi Kichi- (林吉- ) was located at 南傳馬町一丁目二番地

See also

• War artist

Footnotes

1. His earliest works were signed Yōshūsai Chikanobu (楊洲齋周延). At least one triptych from 12 Meiji (1879) exists signed Yōshū Naoyoshi (楊洲直義). There are no works in existence that are signed 'Toyohara Chikanobu' (豊原周延)
2. The obituary of Yōshū Chikanobu in the October 2 1912 issue (#8847) of the Miyako Shinbun, pg. 195:
   "Yōshū Chikanobu, who represented in nishiki-e the Great Interior of the Chiyoda Castle and was famous as a master of bijin-ga, had retired to Shimo-Ōsaki at the foot of Goten-yama five years ago and led an elegant life away from the world, but suffered from stomach cancer starting this past June, and finally died on the night of September 28th at the age of seventy-five.
   His real name being Hashimoto Naoyoshi, he was a retainer of the Sakakibara family of Takata domain in Echigo province. After the collapse of the Tokugawa Shogunate, he joined the Shōgitai and fought in the Battle of Ueno. Thereafter he fled to Hakodate, fought in the Battle of the Goryōkaku under the leadership of Enomoto Takeaki and Ōshima Keisuke, and achieved fame for his bravery. But following the Shōgitai’s surrender, he was handed over to the Takata domain. In the eighth year of Meiji, with the intention of making a living in the way that he was fond of, went to the capital and lived in Yushima-Tenjin town. He became an artist for the Kaishin Shinbun, and on the side, produced many nishikie pieces. Regarding his artistic background: when he was younger he studied the Kanō school of painting, but later switched to ukiyo-e and studied with a disciple of Keisai Eizen; and next joining the school of Ichiyūsai Kuniyoshi, called himself Yoshitsuru. After Kuniyoshi’s death, he studied with Kunisada. Later he studied nigao-e with Toyohara Kunichika, and called himself Isshunsai Chikanobu. He also referred to himself as Yōshū.
   Among his disciples were Yōsai Nobukazu (楊斎 延一), Gyokuei (楊堂玉英)(Yōdō Gyokuei as a uchiwa-e painter), and several others. Gyokuei produced Kajita Hanko. Since only Nobukazu now is in good health, there is no one to succeed to Chikanobu’s bijin-ga, and thus Edo-e, after the death of Kunichika, has perished with Chikanobu. It is most regrettable." trans. by Kyoko Iriye Selden, Senior Lecturer, Department of Asian Studies, Cornell University, ret'd.
3. Miner, Odagiri and Morrell in the Princeton Companion to Classical Japanese Literature, pp. 9, 27.
4. Gobrich, Marius. "Edo to Meiji: Ukiyo-e artist Yoshu Chikanobu tracked the transformation of Japanese culture," Japan Times. March 6, 2009; excerpt, " was originally a samurai vassal of the Tokugawa Shogunate who saw action in the Boshin War (1868-69), which ended the country's feudal system."
5. British Museum, Meiji shoshi nenkai kiji, 1877; woodblock print, triptych. Saigo Takamori and his followers in the Satsuma rebellion
6. Christie's, New York: Lot 76/Sale 1702, 21 September 2006; excerpt, "Toyohara Chikanobu (1838-1912)... Twenty-four triptychs: Nisshin sensoki (Report of the Sino-Japanese War), signed Yoshu Chikanobu, published by Maki Kinnosuke, 1895.3.6; along with twenty-three triptychs of various subjects, most Sino-Japanese war battles, several Russo-Japanese war battles on land and sea, two of officials at treaty negotiations, most signed Yoshu Chikanobu, variously published;" Artelino, "Japanese War Prints" citing Shumpei Okamoto. (1983). Impressions of the Front: Woodcuts of the Sino Japanese War, 1894-95, Philadelphia Museum of Art, OCLC 179964815
7. The ōban tate-e (大判立て絵) format is ~35 x 24.5 cm or about 14" x 9.75" and is vertically oriented. For further information about woodblock formats, please see Woodblock printing in Japan
8. referring in this case to more than three panels
9. one of which is a five panel print from the series, "The Imperial Ladies' Quarters at Chiyoda Palace" entitled, konrei (こんれい) The Marriage Ceremony. The other is a very well-known nine-panel print entitled Meiji Sanjū-Ichi-Nen Shi-Gatsu Tōka: Tento Sanjū-Nen Shukugakai Yokyō Gyōretsu no Zu (明治31年4月10日: 奠都30年祝賀會餘興行列の図), The Procession in Commemoration of the Thirtieth Anniversary of the Transfer of the Capital.
10. The ōban yoko-e (大判立て絵) format is ~24.5 x ~35 cm or about 9.75" x 14" and is horizontally positioned. For further information about woodblock formats, please see Woodblock printing in Japan
11. The format of the lists is: (1)the transliterated title employing Wiki-romanization criteria; (2) the title (enclosed in parentheses) of the work reproduced using the kanji and hiragana found in the title cartouche; (3) the number {enclosed in curly brackets} of prints in the series (where known), excluding the covers, the moku roku, and any introductory or complimentary pages; (4) the Gregorian calendar date(s) «enclosed in doubled angle brackets» calculated from the date found in the otodoke or in the vertical margins of the print, which showed the Meiji calendar year, month, and day that authorities accepted a notification of intent to publish; (5) a referral to the section containing the publisher’s name and address; and (6) an English translation of the title.
12. ^ This appears to be a "calendar" series; each print depicting a specific month
13. This series was originally produced in «1897» by , possibly under the title jūni hito'e (十二ひと繪) Twelve Prints in Sequence (a pun on the twelve-layered kimono); it was reissued in booklet form in «1906» with the present title by
14. This album has been so titled by several sources and may be incorrect; it may be the earlier printing of kyōiku rekishi gafu.
15. The chuban yoko-e (中判立て絵) format is ~19 x 25.5 cm or about 7.5" x 10" and is horizontally positioned. For further information about woodblock formats, please see Woodblock printing in Japan
16. The chuban tate-e (中判立て絵) format is ~25.5 x 19 cm and or about 10" x 7.5" and is vertically oriented. For further information about woodblock formats, please see Woodblock printing in Japan
17. A harimaze-e (張交絵) is a page of prints meant to be cut apart
18. Yotsugiri (四切り) format is a comparatively rare, small print size, about 7" x 5" (19cm x 13cm), obtained by printing four prints on a oban sized sheet
19. Koban yoko-e (中判立て絵) format is ~17 x 23 cm or about 7" x 9", horizontally positioned, and is obtained by dividing an aiban along its short axis; for further information about woodblock formats, please see Woodblock printing in Japan
20. In this series of ōban tate-e prints each sheet is divided into quadrants displaying four emperors per page
21. It was the custom of many artists thoroughout the years to glorify courtesans and tea-house waitresses, so this title might be read: "Reputable Ladies of Different Houses.
22. This is another very common theme amongst the artists of the Meiji period. Chikanobu produced two entirely different single ōban series, as well as a triptych series, with this title. The earlier ōban series was published {50} «1884-6 » with a second edition published «1895»; the other series was published «1898–1902» .
23. There are two editions of this series, though both with the same publishing date. One, with an ornate, colored border, which usually contains the print number in the cartouche and the other, with a plain gray border, which is not numbered.
24. This series was printed by both publishers.
25. Many prints in this series are undated.
26. A very popular theme with several Meiji artists, depicting the Confucian exemplars of filial devotion. Their Japanese counterparts have also been portrayed, though not by Chikanobu, who uses this theme to contrast these paragons with modern Japanese women, mostly from the entertainment class.
27. The insets were done by several of his students.
28. All Chikanobu's diptychs are known only in ōban tate-e format. No vertical diptychs (kakemono-e) have come to light, as yet.
29. This list does not include his kabuki scenes, which number well over a hundred and were never collated.
30. This series has also been called "Bamboo Knots"

Further reading

• Coats, Bruce; Kyoko Kurita; Joshua S. Mostow and Allen Hockley. (2006). Chikanobu: Modernity And Nostalgia in Japanese Prints. Leiden: Hotei. 10-ISBN 9004154906/13-ISBN 9789004154902; 10-ISBN 9074822886/13-ISBN 9789074822886; OCLC 255142506

External links

• Chikanobu Chikanobu: The Artist's Eye©
• Chikanobu's Neo-Traditionalism Dan McKee
• Chikanobu collection at the Museum of Fine Arts, Boston
• Chikanobu and Yoshitoshi Woodblock Prints in the Claremont Colleges Digital Library from the Ruth Chandler Williamson Gallery, Scripps College

• Ukiyo-e artists
• 1838 births
• 1912 deaths