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C1846
Noin Hoshi – Master of the Law Noin
Artist:
Utagawa Hiroshige (1797 - 1958)
Poet number 69, in shi (Master of the Law Nin) Scene: Sukune Tar 333 and Lady Tatsuta no mae The scene depicts Tatsuta remonstrating with a sulking Taro. Her kimono shows a design of autumn leaves floating down a river. … Read Full Description
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Details
Full Title:
Noin Hoshi – Master of the Law Noin
Date:
C1846
Artist:
Utagawa Hiroshige (1797 - 1958)
Condition:
Top left corner a little frayed, minor ageing to margins otherwise in good condition.
Technique:
Woodblock
Image Size:
220mm
x 340mm
AUTHENTICITY
Genuine antique
dated:
1846
Description:
Poet number 69, in shi (Master of the Law Nin) Scene: Sukune Tar 333 and Lady Tatsuta no mae
The scene depicts Tatsuta remonstrating with a sulking Taro. Her kimono shows a design of autumn leaves floating down a river.
Tatsuta no Mae’s father in law sharpens his sword of inhumanity; her husband polishes his blade of cruelty. How grievous! Due to these two rejecting the remonstrances of his faithful wife; she disappears with the ice in an early spring pond. Should we say that the letting of her crimson blood in the water is related to her name of Tatsuta?
Sukune Taro and Tatsuta no Mae are characters from the famous play Sugawara Denju Tenarai Kagami (Sugawara’s Secrets of Calligraphy) written by Takeda Izumo I for the puppet theatre.
Reference: Herwig & Mostow, The Hundred Poets Compared 2007, No. 69 p.172 ill. p.173
Biography:
Utagawa Hiroshige (1797-1858)
Hiroshige was born in Edo, his father held an official position in the first brigade of the Edo Castle. He was drawing from an early age so his father arranged lessons for him from a fellow fireman, an amateur painter named Okajima Rinsai. In 1811 at the age of fitteen, after the death of both his mother and father, he also tried to become a pupil of Toyokuni. Toyokuni’s studio was unable to accommodate another student so he became a student of Toyohiro of the same school. It is said that he made such quick progress in this studio that within a year Toyohiro introduced him as a member of the Utagawa School, and giving him the artist name Utagawa Hiroshige. Until 1830 he worked in the tradition of the Utagawa School, designing mainly bijin-ga (beautiful women), yakusha-e (actors) and musha-e (warrior) prints.
In the 1830’s Hiroshige embarked in a different direction in his work. Probably inspired by Hokusia’s Thirty-six Views of Mount Fuji, he produced a number of landscape views which were immediately popular and established Hiroshige’s enduring fame as a landscape artist.
