#JPR-111306
Chikanobu (1838-1912)

Osho (Wang Xiang)

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#JPR-111306
Chikanobu (1838-1912)
Osho (Wang Xiang)
Series:
24 Paragons of Filial Piety
Medium:
Woodblock Print
Date:
1890
Size:
14.25" x 9.25"
Signature:
Yoshu Chikanobu
Condition:
Very good color, impression and state. slightly trimmed bottom edge, embellished with black lacquer
$420.00

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Details

Publisher:
Hasegawa Tsunejiro

About the art

Osho (or Wang Xiang in the Chinese tale) lost his mother at his mother at a young age. Though his father took a new wife, the woman despised the boy. After sometime, she turned Osho’s father against him. Despite this cruelty, the young Osho remained devoted to them both. One cold winter his stepmother fell ill and had a craving for fresh fish. Osho went to the frozen river, removed his clothes, and thawed the ice with his body heat. He was able to catch two carp for his stepmother. When he presented the fish, she changed her behavior towards Osho.

About the artist

Chikanobu Toyohara (also known as Chikanobu Yoshu) was an influential woodblock print artist of the Meiji Period. Born in Niigata prefecture, Chikanobu (née Naoyoshi Hashimoto) began his life as a samurai of the Sakakibrara Clan. During the Meiji Restoration, he joined the shogitai, an elite samurai brigade in direct support of the shogun’s court, and fought bravely in the Battle of Ueno in 1868. As the Shogunate fell, Chikanobu turned to a career in art. Though trained in Kano school painting, he shifted his attention to ukiyo-e in 1875. He began his printmaking career under the tutelage of the Utagawa School masters Kuniyoshi, Kunisada and Kunichika. Like many of his contemporaries, Chikanobu also worked as a newspaper illustrator. He designed prints in all genres, from kabuki actors to historical military scenes and senso-e, but he is most recognized for his portrayal of women’s fashions, pastimes and customs. These works trace the movement of traditional Japanese culture into increasingly Western-influenced Japan that emerged after Commodore Perry’s arrival in 1854 and the resulting modernization. While many of the prints from this era feature the bright, opaque appearance of aniline dyes, Chikanobu maintains an aspect of subtlety even with the use of these synthetic colors.

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