Utagawa Kunisada II
1823 ~ 1880Utagawa Kunisada II, initially known as Kunimasa III, was a principal pupil and successor of Utagawa Kunisada I. After marrying his master`s eldest daughter, Osuzu,
he was adopted into Kunisada`s family in 1846. Around 1850 - 1851, when he also inherited his master`s house, he adopted the name Kunisada, although he never signed his works as “Kunisada II.”
Following his master`s death, he assumed the name Toyokuni III; however, because three earlier artists are now recognized as having used the Toyokuni name, he is commonly referred to by modern
scholars as Toyokuni IV.
Throughout his career, Kunisada II designed more than forty print series and illustrated nearly two hundred books. He worked mainly in the style of his master and was particularly active in the
production of kabuki actor prints, but he also created bijin-ga, shunga, literary illustrations, and other subjects. Among his best-known works are the actor series Hakkenden inu no sōshi no uchi,
inspired by Kyokutei Bakin`s Nansō Satomi Hakkenden, and several series based on the Genji literary tradition.
Although he continued the artistic practices of Kunisada I, he never achieved the same degree of popularity or commercial success. His productivity declined during the early Meiji period, and he appears
to have ceased designing prints after 1874. He died in 1880.
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The subject of this print is Hotaru ("Fireflies"), the twenty-fifth chapter of The Tale of Genji.
In this scene, Genji and Lady Tamakatsura (玉鬘) are depicted conversing outdoors. The glowing fireflies scattered around them evoke the title of the chapter.
At the top of the print, a fan-shaped cartouche contains a waka poem from the chapter:
「こゑはせて身をのみ焦かす蛍こそいふよりまさる思ひなるらめ」
Koehasete / mi wo nomi kogasu / hotaru koso / ifu yori masaru / omohi narurame
“Without a voice, the firefly burns its own body
a silent yearning, deeper than words could ever express.”
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Two key figures, the main villain and what is remembered as the sinless victim of the 47 rōnin story are represented in this print from one of the countless Kanadehon Chūshingura series.
The matter was well known by the time already and both literature and theater took inspiration from it. However in an era where peace and harmony had to be preserved all along the country any reference to the original feud was prohibited by
censorship and the authors found themselves force to change names for places, characters and sometimes even transpose the flow of the events on a different timeline.
So here Lord Asano becomes Takasada while the evil Kira becomes Moronao.
This may actually be an edition released soon after the first one being the Kanadehon Chūshingura pretty popular by that time. However it misses some details: we can point out that both the names of the actors are missing from the red cartouches
where only the characters one are shown.
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At the top, a fan-shaped panel frames a poem from the chapter which content The content is depicted in the image below, where a man holds a branch and a message in his right hand:
"Ima wa tote ya tokare na tomo nare kitsuru maki no hashira ni ware o wasuruna".
"いまはとてやとかれなともなれきつるまきのはしらにわれをわするな"。
"Now that I am leaving, even if I should be forgotten, do not forget the bond we made, marked on the trunk of the tree."
In the 31st chapter of "The Tale of Genji," Tamakatsura reluctantly becomes Higekuro`s lover and soon finds herself pregnant, leading to a secret marriage sanctioned by To no Chujo.
Amidst a complex backdrop of familial and court tensions, Tamakatsura navigates her forced marriage and the emotional and social repercussions that follow, including estrangement from Higekuro and reflections on missed opportunities.
Her story intertwines with Genji`s, highlighting themes of unfulfilled love and societal obligations within the Heian court`s intricate relationships.
USD$ 153.00
This print depicts a lively street scene from the Meiji or late Edo period, focusing on three women, likely sex workers from the licensed quarter, dressed in colorful kimonos as they walk
together at night, illuminated by a lantern carried by one of them. In the background, a traditional row of shops and tea houses can be seen, with one prominently named Tsuruya, capturing the vibrant urban
life of the time.
The attention to detail in the women`s attire and the architectural elements reflects the rich culture and everyday life of historical Japan.
USD $279.00
On New Year`s morning, Genji visits the women of his palace: he once again declares his unconditional love for Murasaki, finds the Princess of Akashi playing with the children, and enjoys pleasant company with the Lady of the Village of Falling Flowers. Later, he spends the night with the Lady of Akashi, causing Murasaki to become jealous. The following day, during a New Year`s reception, the ladies can only hear distant echoes of the songs from their rooms. Genji also visits Suetsumuhana, finding her dull as always but ensuring that she lives in comfort. Finally, he extends his New Year`s greetings to Utsusemi, who has become a nun, lamenting her decision to leave the world behind. The celebrations conclude with a New Year`s pantomime, during which Yugiri stands out as a musician, making his father proud of his many talents.
USD$ 149.00
