C1924

Fujito (The Wisteria Gate)

Artist:

Tsukioka Kogyo (1869 - 1927)

Woodblock from the series Nogaku hyakuban (One Hundred No Dramas) A Kyoto monk travels on the Hokurikudō highway from the province of Kaga to Zenkōji Temple. When he passes by Tagonoura in Himi, Etchū Province (present-day Himi City in Toyama … Read Full Description

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S/N: JWB-KOGYO-039–226874
(C116)
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Details

Full Title:

Fujito (The Wisteria Gate)

Date:

C1924

Artist:

Tsukioka Kogyo (1869 - 1927)

Condition:

Some spotting at lower sheet edge, otherwise in good condition.

Technique:

Woodblock.

Image Size: 

255mm 
x 380mm
AUTHENTICITY
Fujito (The Wisteria Gate) - Vintage Print from 1924

Guaranteed Vintage Item
dated:

1924

Description:

Woodblock from the series Nogaku hyakuban (One Hundred No Dramas)

A Kyoto monk travels on the Hokurikudō highway from the province of Kaga to Zenkōji Temple. When he passes by Tagonoura in Himi, Etchū Province (present-day Himi City in Toyama Prefecture), he notices some beautiful wisteria flowers. When he lays eyes on the flowers, an old poem comes from his lips, but it does not laud the beauty of the wisteria. A woman then appears before the monk. She scolds the monk, saying that since he is in Tagonoura, which achieved fame for its wisteria blossoms, he should have chosen to recite a poem lauding the beauty of wisteria. She insists that he does not understand elegant, refined emotions. The monk asks her identity, since she is familiar with past events. The woman then reveals that she is the spirit of the wisteria and vanishes into thin air.

In the middle of the night, the spirit of the wisteria appears in front of the sleeping monk. She tells him that she has attained enlightenment through the teaching of the Buddha and has become a bodhisattva of the flower. She performs a dance, and eventually daybreak comes. The spirit disappears in the first rays of dawn.

Biography:

Tsukioka Kogyo (1869-1927)

Although Kogyo was born the year after the beginning of the Meiji restoration, which brought Japan into the modern Western world, he was to become famous for his depiction of scenes from the traditional Japanese theatre Noh. A talented and prolific artist he was to created over 550 prints of Noh plays.

At the age of fifteen he was apprenticed to the great woodblock artist Tsukioka Yoshitoshi (1839-1892), who had married his mother.  Yoshitoshi, had a “lifelong fascination with Noh” and influenced his apprentice to appreciate all aspects of Noh perfomances.  After Yoshitoshi’s death, he went on to study with the painter and woodblock artist Ogata Gekko (1859-1920), who his more modern style Kogyo was to adapt for his woodblocks.

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