C1843
 (1846)

[Öiso-no-Maihime telling the Soga Brothers where Suketsune is]

Rare c.19th colour woodblock print by Utagawa Hiroshige of a woman named Oiso-no-Maihime (also known as Oiso-no-Tora) telling the Soga brothers, Juro and Goro, where to find Suketsune. The story recounts the revenge exacted by the Soga brothers during the … Read Full Description

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Details

Full Title:

[Öiso-no-Maihime telling the Soga Brothers where Suketsune is]

Date:

C1843
 (1846)

Condition:

Minor wear at lower sheet, otherwise in good condition.

Technique:

Colour woodblock.

Image Size: 

228mm 
x 334mm

Paper Size: 

240mm 
x 355mm
AUTHENTICITY
[Öiso-no-Maihime telling the Soga Brothers where Suketsune is] - Antique Print from 1843

Genuine antique
dated:

1846

Description:

Rare c.19th colour woodblock print by Utagawa Hiroshige of a woman named Oiso-no-Maihime (also known as Oiso-no-Tora) telling the Soga brothers, Juro and Goro, where to find Suketsune.

The story recounts the revenge exacted by the Soga brothers during the Kamakura period (12th–14th centuries), a celebrated episode commonly known as Soga no Taimen (“The Confrontation of the Soga”) or simply Taimen (“The Confrontation”). The narrative follows the brothers Jūrō and Gorō Soga, whose father was slain by Kudō Suketsune. Seeking vengeance, they visit Kudō’s residence at New Year and confront him directly. Kudō, however, requests that his life be spared until he has completed his duties as commander of the grand hunt held at the foot of Mount Fuji. After enduring many hardships, the Soga brothers ultimately fulfil their vow by killing their father’s enemy. In the ensuing conflict, the elder brother Jūrō is slain, while Gorō is captured and executed. The tale of their loyalty and vengeance was later immortalised in Soga Monogatari (“The Tale of the Soga”), a popular narrative that found enduring resonance among the common people. The print shows the woman pointing the way for the brothers, who are dressed for their mission, to locate Suketsune’s mansion during the Fuji no Makigari hunting event.  Oiso-no-Maihime’s role: She is a pivotal figure who guides the Soga brothers to their target. The scene emphasises the moment of crucial information being passed from one character to another.  The context: The action is set against the backdrop of the grand hunting party at Mt. Fuji, where the brothers had been waiting for their chance for revenge.

From: Hiroshige, U. Soga-monogatari zu-e (Illustrated Tale of the Soga Brothers)

Publisher: Watanabe Shoemon
Date: 1843 or 1846
Censor seal: 1843 V -Watari- (Tenpo 14 ) or  1846 V-Watari- (Koka 3)

Collections:
Harvard Art Museum: Object Number 1933.4.273 C.20th reprint
Art Institute Chicago: Reference Number 1939.1546

Utagawa Hiroshige (1797 - 1858)

Considered the last great master of Japanese ukiyo-e art. Born in the Yayosu Quay district of Edo (modern Tokyo) into a samurai family. He was the great-grandson of Tanaka Tokuemon, an official in the service of the Tsugaru clan of Mutsu province. His grandfather, Mitsuemon, practised as an archery instructor under the name Sairyūken, while his father, Gen’emon, adopted into the family of Andō Jūemon, succeeded him as fire warden for the Yayosu Quay area. Following the death of his parents, Hiroshige then known as Tokutarō turned to painting at about the age of fourteen. He first sought training under Toyokuni of the Utagawa school, but, unable to gain entry, was instead introduced to Toyohiro, under whose guidance he began his studies. By 1812 he was permitted to sign his works, adopting the art name Hiroshige. His training also encompassed the traditions of the Kanō school, the literati style of nanga, the naturalism of the Shijō school, and, in addition, the perspective techniques of Western art and ukio-e. In 1832 Hiroshige was invited to join an official procession to Kyoto, a journey that afforded him the chance to travel the Tōkaidō route linking the two capitals. Along the way he sketched the landscapes and, on his return to Edo, created the celebrated series The Fifty-three Stations of the Tōkaidō, which includes some of his most renowned designs. In 1856, Hiroshige "retired from the world", becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa.

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