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Chikanobu (1838 - 1912)

Kan Buntei (Han Wendi)

Series: 24 Paragons of Filial Piety
Medium: Woodblock Print
Date: 1890
Size (H x W): 14.25 x 9.25 (inches)
Publisher: Hasegawa Tsunejiro
Signature: Yoshu Chikanobu
Condition: Very good color, impression and state. slightly trimmed bottom edge, embellished with black lacquer

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Description

Liu Heng (known as Kan Buntei in the Japanese tale) earned the name Han Wendi, or “The Learned Emperor of Han.” He was a beloved ruler who promoted education and was known for his devotion to his mother, Empress Dowager Bo. When she took ill, he was at her bedside, taking care of her and tending to her every need without complaint. He was vigilant, insisting that he always taste the medicine before his mother to ensure that it was safe. Though he was a busy leader, he was never late to care for his mother.

About the artist

Chikanobu Toyohara (also known as Chikanobu Yoshu) was a leading woodblock print artist of the Meiji Period. Born in Niigata prefecture as Naoyoshi Hashimoto, Chikanobu began his life as the son of samurai in the service of the Sakakibara clan. During the Meiji Restoration, he joined the shogitai, an elite samurai brigade in direct support of the waning Tokugawa Shogunate, and fought bravely in the Battle of Ueno in 1868. Though captured in the fray, he was released unharmed. As the Shogunate fell, Chikanobu focused on a career in art.

Though trained in Kano school painting from an early age, Chikanobu shifted his attention to ukiyo-e around 1852. He began his printmaking career under the tutelage of Utagawa School masters Kuniyoshi, Kunisada and Kunichika. Like many of his contemporaries, Chikanobu worked as a newspaper illustrator as well as a print artist. By 1871, he had established himself as a leading print artist. He designed across all genres, from kabuki actors and beauties to military exploits of past and present. During the 1870s, Chikanobu captured Meiji Japan’s rapid modernization through kaika-e, or “enlightenment pictures.” Attuned to current events and public taste, he produced designs of both the 1877 Satsuma Rebellion, an ill-fated insurrection again Meiji government, and well as the 1882 Imo Incident in Korea. Chikanobu’s reflected his changing world not only through his subject matter, but also in his materials. Incorporating the purples and reds of imported aniline dyes, he achieved an element of subtlety and sophistication rarely seen in his era. By the 1880s, a wave of national nostalgia for a Japan past prompted designs exploring traditional Japanese culture, values, and heroes. Through explorations of female beauty, Chikanobu personified moments in Japanese history through fashion, manners and customs. In 1912, he died of stomach cancer.