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''The creation of mood according to the phase of the moon was exploited for its poetic and expressive possibilites. This was the most successful and still the most famous of Yoshitoshi's print series. People would queue before dawn to buy each new design and still find the edition sold out.''<ref name=fitz>http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/series/moon.html</ref> |
''The creation of mood according to the phase of the moon was exploited for its poetic and expressive possibilites. This was the most successful and still the most famous of Yoshitoshi's print series. People would queue before dawn to buy each new design and still find the edition sold out.''<ref name=fitz>http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/series/moon.html</ref> |
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''Tsukioka Yoshitoshi (1839-1892) is considered by many to be Japan's last great woodblock artist, and his final work, the series One Hundred Aspects of the Moon, is regarded as his greatest achievement.''<ref name="TjardesTaiso2003"/> |
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''Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations.''<ref name=wdl>https://www.wdl.org/en/item/15165/</ref> |
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redirects: Tsuki hyakkei, Tsuki hyakushi, 100 Views of the Moon, 100 Aspects of the Moon |
redirects: Tsuki hyakkei, Tsuki hyakushi, 100 Views of the Moon, 100 Aspects of the Moon |
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==References== |
==References== |
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<ref name="TjardesTaiso2003">{{cite book|author1=Tamara Tjardes|author2=Yoshitoshi Taiso|title=One Hundred Aspects of the Moon: Japanese Woodblock Prints by Yoshitoshi|url=https://books.google.com/books?id=mCZ0QgAACAAJ|year=2003|publisher=Museum of New Mexico Press|isbn=978-0-89013-438-2}}</ref> |
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<ref name="YoshitoshiGrafton2013">{{cite book|author1=Tsukioka Yoshitoshi|last2=Grafton|first2=John|title=One Hundred Aspects of the Moon|url=https://books.google.com/books?id=dD_nugAACAAJ|year=2013|publisher=Dover Publications|isbn=978-0-486-49853-9}}</ref> |
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<ref>http://yoshitoshi.verwoerd.info/</ref> |
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<nowiki>[[Category:Ukiyo-e print series]]</nowiki> |
<nowiki>[[Category:Ukiyo-e print series]]</nowiki> |
Revision as of 02:24, 22 November 2016
A Hundred Aspects of the Moon (Tsuki hyakushi) is a series of multi-coloured woodblock prints (nishiki-e) by Japanese ukiyo-e artist Tsukioka Yoshitoshi (1839-92). Published by Akiyama Buemon between 1885 and 1892, the 100 Moon-themed prints feature various Japanese and Chinese historical events, mythology, and folklore.
The creation of mood according to the phase of the moon was exploited for its poetic and expressive possibilites. This was the most successful and still the most famous of Yoshitoshi's print series. People would queue before dawn to buy each new design and still find the edition sold out.[1]
Tsukioka Yoshitoshi (1839-1892) is considered by many to be Japan's last great woodblock artist, and his final work, the series One Hundred Aspects of the Moon, is regarded as his greatest achievement.[2]
Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations.[3]
redirects: Tsuki hyakkei, Tsuki hyakushi, 100 Views of the Moon, 100 Aspects of the Moon
- holding back the night
- with its increasing brilliance
- the summer moon
- – Yoshitoshi's death poem[4]
Prints
№ | Name | Description | |
---|---|---|---|
Title page | |||
1 | The Courtesan Takao | ||
2 | Chang'e flees to the moon (Joga hongetsu tsuki) | According to one version of this Chinese legend, the Queen Mother of the West rewarded the husband of Chang'e with the elixir of immortality. She stole and drank it, and fled to heaven where she became the spirit of the moon. (printed October 1885) | |
3 | Rising moon over Mount Nanping (Nanpeizan shogetsu) | Scene from the Chinese novel The Romance of the Three Kingdoms shows Cao Cao (150-220 AD), at the time the most powerful ruler in northern China, standing in a small boat, overlooking the Yangtze River. If the crows flying towards the moon bring good news - as they in Asia often do - they are bringing it somewhere else. After several brilliant victories, Cao Cao was defeated in the year 208, in the decisive battle of Chibi (The battle of the Red Cliffs) on the Yangtze. Cao Cao was also an established poet who contributed to reshaping the poetry style of his time. The Red Cliffs reappear in print #81. (October 1885) | |
4 | The Gion District (Gionmachi) | Scene from the famous kabuki play Chushingura, the young Oishi Rikiya delivers a letter containing news about the forty-seven Ronin to the Ichiriki Teahouse in Kyoto where his father, Oishi Yuranosuke, is secretly organizing a vendetta to avenge his master’s death. (printed October 1885) | |
5 | Woman watching the shadow of a pine branch cast by the moon | This picture illustrates a verse by the celebrated haiku master Takarai Kikaku (1661-1707): "Bright moon - across the tatami mats shadows of pine branches" (printed October 1885). Stevenson* points out that, based on the hairstyle, the round uchiwa fan, and several other style elements, this design probably is a homage to Utamaro (1754-1806) | |
6 | The village of the Shi clan on a moonlit night (Shikason tsukiyo) | Shi Jin, a fictitious martial arts instructor from the Chinese novel Shui hu Zhuan (The Water Margin), became an outlaw-hero when bandits attacked his village. He first captured them, but after hearing their story about corruption and suppression, joined them and fled to the marsh lands of the book title. As Stevenson* points out, Shi Jin's nickname Kumonryu (the nine dragoned) reflects his spectacular tattoo pattern. (printed November 1885) | |
7 | Inaba Mountain moon (Inabayama no tsuki) | ||
8 | Moonlight Patrol (Gekka no sekko) | ||
9 | Mountain moon after rain (Ugo no sangetsu) | From the 12th century tale of Soga no Goro Tokimune and his brother Juro who avenged their father's death by killing his murderer one rainy summer night on the slopes of Mount Fuji. Juro was killed in the fight. Goro was captured and taken before the shogun who had him decapitated. The cuckoo flying in front of the moon is a symbol of the transience of life. | |
10 | Moon of pure snow at Asano River (Asanogawa seisetsu no tsuki) | ||
11 | Cooling off at Shijo (Shijo noryo) | ||
12 | Moon above the sea at Daimotsu Bay: Benkei (Daimotsu kaijo no tsuki – Benkei) | The story of the heroic deeds of Yoshitsune no Minamoto and his loyal servant, the warrior-priest Benkei, was told in the Heike Monogatari (Tale of the Heike) and the Gikeiki (Story of Yoshitsune), and retold many times in plays and prints. This legendary episode was the central subject of famous Noh and Kabuki plays, including the version of Fuwa Benkei (Benkei in the Boat) starring Danjûrô IX premiered in 11/1885. After Yoshitsune's decisive win over the Taira clan at the battle of Dannoura in 1185, he was outlawed by his brother Yoritomo and forced to flee the capital with his followers. Setting sail, they were caught in an unusually violent storm and heard the spirit voices of the Taira warriors calling for revenge. A host of dead warriors appeared above the waves and were only quelled when Benkei confronted them, with his rosary in hand, reciting prayers and spells.
Kuniyoshi had depicted this episode in prints with the ghosts clearly visible; Yoshitoshi makes them less tangible, but evokes their presence in the shapes of the black clouds. In fine early impressions such as this example, mica scattered on the surface shines when the print is moved in the light, depicting the moonlight glittering on the dark waves.[5] | |
13 | The cry of the fox (Konkai) | ||
14 | Tsunenobu and the demon | ||
15 | Mount Yoshino midnight-moon (Yoshinoyama yowa no tsuki) | Under a clouded full moon, Iga no Tsubone exorcizes the spirit of Sasaki no Kiyotaka, an adviser to the exiled Emperor Go-Daigo. Kiyotaka encouraged the Emperor to fight the rebel forces of Ahikaga Takauji at Minatogawa in 1336, against the advice of General Masashige. After losng the battle, Go-Daigo fled to Mount Yoshino and Kiyotaka was forced to kill himself; his ghost haunted the Emperor's courtiers until it was confronted by Masashige's daughter-in-law, Iga no Tsubone.
"Like all the prints in this series, the white title cartouche is embossed with the pattern of a textile. The ghost has blue lips, a convention also used for corpses. Iga no Tsubone's hair is remarkable both for its fine carving, and for the part it plays in one of Yoshitoshi's boldest designs."[1] (printed January 1886) | |
16 | Michizane composes a poem by moonlight | ||
17 | The moon at high tide (Ideshio no tsuki) | ||
18 | An iron cauldron in the moonlit night (Tsukiyo no kama) | ||
19 | The moon of Ogurusu in Yamashiro (Yamashiro Ogurusu no tsuki) | ||
20 | Suzaku Gate moon (Suzakumon no tsuki) | Minamoto no Hiromasa (913-980) was renowned for his musical ability. Here he encounters a mysterious foreigner at Suzaku Gate, Kyoto, and plays a duet with him. (printed February 1886)
Hakuga Sammi is the Chinese reading of the name and court rank of Minamoto no Hiromasa (918-80), grandson of Emperor Daigo. He was a famous musician, equally adept at playing a variety of wind and string instruments. We see him here from the rear, wearing the robes and lacquered hat of a Heian courtier, and playing the yokobue, a transverse flute. He is outside the Suzaku Gate of the Daidairi enclosure in Kyoto, which contained the imperial palace and government offices. The identity of his companion is uncertain, but judging from his hat and beard he is probably a foreigner. Hiromasa's skill on the flute was legendary and the beauty of his playing is recounted in numerous tales. One of them tells of him being robbed of all his possessions except a wooden flute (hichiriki). When he picked up the remaining flute and started to play, the sound carried through the streets to the ears of the robbers. They were so moved by its beauty that they repented their crime and returned Hiromasa's possessions.[6] | |
21 | Itsukushima moon (Itsukushima no tsuki) | ||
22 | Moon and Smoke (Enchu no tsuki) | A contemporary scene showing an everyday hero in Tokyo, a tinder-box town built of wood and paper. Throughout his career, Yoshitoshi depicted firemen in his prints. Not only were they popular, daredevil figures with something of the heroic appeal of actors and wrestlers, but their distinctive costumes and geometric standards (matoi) made them very picturesque. Their quilted jackets were soaked with water to make them more resistant to fire, and they could be reversed when the fire was over to reveal a colourful lining. The character on the back of this jacket reads matoi, indicating that this is the standard bearer for the brigade fighting the fire in the foreground. The character on the hat shows that he belongs to Number One Company. Standards were held aloft on roof tops so that each brigade could be identified and so that firemen could signal above the flames and noise. A distant fireman holds another standard on the roof opposite. There was great rivalry between the district brigades because the particular brigade that saved each property was rewarded.
Spattered red lead that has blackened gives texture and atmosphere to the smoke and flames.[7] | |
23 | Faith in the third-day moon (Shinko no mikazuki) | ||
24 | Moon of the pleasure quarters (Kuruwa no tsuki) | In Yoshiwara, Edo's prostitution-district famed for its cherry trees, a courtesan and her child attendant (kamuro) observing the falling blossoms. (printed March 1886) | |
25 | Gravemarker moon (Sotoba no tsuki) | ||
26 | Cassia-tree moon (Tsuki no katsura) | ||
27 | Moon at the Yamaki Mansion (Yamaki yakata no tsuki) | ||
28 | Chikubushima moon (Chikubushima no tsuki) | ||
29 | The Yugao chapter from The Tale of Genji (Genji yugao maki) | This diaphonous figure is the ghost of the most mysterious of Prince Genji's lovers in The Tale of Genji, the 11th-century classic by Murasaki Shikibu, who was depicted in another print in this series. In Chapter 4 of the novel, Genji is on the way to visit his old nurse when he is attracted by the white flowers of a gourd overrunning the garden of a dilapidated house. He asks a servant to fetch a bloom and it is returned on a fan inscribed with a poem referring to his 'evening face', the literal meaning of yûgao, the name of the flower (Lagenaria siceraria). He courts the mysterious author of the poem, and takes her to a nearby villa, where she is visited in the middle of the night by the jealous spirit of one of Genji's lovers; she breaks into a fever and within hours she is dead. Genji is overcome with grief and years later still longed for a further glimpse of the woman who faded as quickly as the white flowers in her garden.
The print shows her ghost floating through her garden on the night of a full moon: yûgao was also known as 'moonflower', thus linking the subject to the theme of the series. Her lips are blue, a convention for the depiction of ghosts and corpses. Blind embossing is used to give form to the white petals of the flowers.[8] | |
30 | The moon through a crumbling window (Haso no tsuki) | ||
31 | Mount Ji Ming moon (Keimeizan no tsuki) | ||
32 | Kitayama moon (Kitayama no tsuki) | Toyohara Sumiaki, court musician to Emperor Go-Kashiwabara (reigned 1500-25), encounters a pack of wolves on the Kitayama moors, north of Kyoto. He managed to escape unharmed by charming them with his wooden flute (shakuhachi). (printed June 1886) | |
33 | Dawn moon of the Shinto rites (Shinji no zangetsu) | ||
34 | The moon's inner vision (Shinkan no tsuki) | ||
35 | Mount Otowa moon (Otowayama no tsuki) | ||
36 | Takakura moon (Takakura no tsuki) | ||
37 | A glimpse of the moon (Kaimami no tsuki) | ||
38 | Ariko weeps as her boat drifts in the moonlight | ||
39 | Inamura Promontory moon at daybreak (Inamurgasaki no akebono no tsuki) | ||
40 | The Moon of the Milky Way (Ginga no tsuki) | ||
41 | Moon over the pine forest of Mio | ||
42 | Moon of the enemy's lair (Zokuso no tsuki) | ||
43 | Theater-district dawn moon (Shibaimachi no akatsuki) | ||
44 | Akazome Emon viewing the moon from her palace chambers | ||
45 | Hazy-night moon (Oboroyo no tsuki) | ||
46 | Bon Festival Moon (Bon no tsuki) | ||
47 | Kintō picks a plum branch in the moonlight | Fujiwara no Kintō (966-1041), aka Shijo-dainagon, was a poet that was highly admired by his contemporaries. He was also a musician, a scholar, and a Heian court official. Snow has fallen on the buildings of the imperial palace during the night, and Kinto has gone out into the moonlit courtyard to pluck and admire a flowering plum branch. His verse reads: "In the midst of glimmering whiteness, among the night’s moon shadows - I part the snow and pluck plum blossoms."
(published January 1887) | |
48 | Huai River Moon - Wu Zixu (Waisui no tsuki - Goshisho) | ||
49 | Streetwalker by moonlight | ||
50 | The moon and the helm of a boat (Daro no tsuki) | ||
51 | Lady Gosechi (Gosechi no myobu) | ||
52 | Mount Tobisu dawn moon (Tobisuyama gyogetsu) | ||
53 | Sumiyoshi full moon (Sumiyoshi no meigetsu) | ||
54 | Chinese beauty holding a stringed instrument | ||
55 | Fukami Jikyu challenges the moon | ||
56 | Gen'i viewing the moon from his castle | ||
57 | Reading by the moon (Dokusho no tsuki) | ||
58 | Does the cuckoo too announce its name from above the clouds? | ||
59 | In the moonlight under the trees a beautiful woman comes (Getsumei rinka bijin majiru) | An elegantly dressed Chinese woman represents the spirit of the plum tree that appeared to the Chinese poet Zhao Shixiong. (published March 1888) | |
60 | Received back into Moon Palace (Gekkyo no mukae) | A scene from the Taketori monogatari (Tale of the Bamboo Cutter), an old bamboo cutter watches in awe as heavenly messengers lead the girl he adopted and raised, Princess Kaguyahime, daughter of the Moon Queen, back to her home. (published March 1888) | |
61 | Gojo Bridge moon (Gojobashi no tsuki) | ||
62 | Moon of Enlightenment (Godo no tsuki) | Hotei, the god of happiness, demonstrates the Zen Buddhist wisdom: "All instruction is but a finger pointing to the moon; and those whose gaze is fixed upon the pointer will never see beyond. Even let him catch sight of the moon, and still he cannot see its beauty." (published April 1888) | |
63 | The moon of the moor (Harano no tsuki) | Fujiwara no Yasumasa (958-1036) a governor and musician charms his outlaw brother Hakamadare Yasusake by playing the flute. The bandit had planned to rob him, but the music was so beautiful he could not draw his sword. When Yoshitoshi in this series quotes from earlier work, as in this case from his famous 1868 triptych, he often does so with great restraint. See also prints #61, #70, and #85. In this design, the perspective from behind Yasumasa's back, rather than looking him in the face, works admirably well, and helps to condense the scene into one single sheet. (published May 1888.) | |
64 | Nakamaro views the moon in China | ||
65 | Katada Bay moon (Katadaura no tsuki) | ||
66 | Shizu Peak moon (Shizugatake no tsuki) | ||
67 | Joganden moon (Joganden no tsuki) | ||
68 | Moon of the Southern Sea (Nankai no tsuki) | ||
69 | Seson temple moon (Sesonji no tsuki) | ||
70 | Mount Ashigara moon (Ashigarayama no tsuki) | ||
71 | Ishiyama moon (Ishiyama no tsuki) | ||
72 | Mount Miyaji moon (Miyajiyama no tsuki) | ||
73 | Jade Rabbit - Sun Wukong (Gyokuto - Songoku) | ||
74 | Lady Chiyo and the broken water bucket | ||
75 | Hidetsugu in exile | ||
76 | Shinobugaoka moon (Shinobugaoka no tsuki) | ||
77 | Lunacy - unrolling letters (Tsuki no monogurui - fumihiroge) | ||
78 | Rainy moon (Uchu no tsuki) | ||
79 | Dawn moon and tumbling snow (Seppu no gyogetsu) | ||
80 | Moon of the filial Son (Koshi no tsuki) | ||
81 | Moon of the Red Cliffs (Sekiheki no tsuki) | ||
82 | Kenshin watching geese in the moonlight | ||
83 | General Akashi Gidayu | ||
84 | Cloth-beating moon (Kinuta no tsuki) | ||
85 | Moon of the Lonely House (Hitotsuya no tsuki) | ||
86 | Rendezvous by moonlight | ||
87 | Moon of Kintoki's mountain (Kintokiyama no tsuki) | ||
88 | A country couple enjoys the moonlight with their infant son | ||
89 | Horin temple moon (Horinji no tsuki) | Yokobue was an attendant of the empress Kenreimonin in the 12th century. A young guard fell in love with her, but when his father objected to the match he left to become a monk at Hôrin temple in the mountains. Yokobue travelled to see him, but fearing that he might be tempted to forget his vow, he made use of the fact that he had changed his name and sent a message that no one of the name she was calling was at the temple. Heartbroken, Yokobue departed. According to Heike monogatari (Tale of the Heike), she became a nun, but in the sixteenth century Yokobue sôshi (Book of Yokobue) she threw herself into the Ôi River and her lover ran down the mountain to find her drowned.
The print shows her as she turns away to come down from the mountain, with the mood of the landscape reflecting her state of mind: the clouds covering the moon, the wind tugging at her robes, the fence a barrier between her and her lover, and the intertwined pine trees, symbols of conjugal happiness, disappearing in the mist. Her pose is suggestive of the meaning of her name, 'transverse flute'. The depiction of the landscape recreates the effect of Rimpa screen painting, with the clouds and fence effectively carved to mimic broken brushstrokes. [9] | |
90 | Kazan temple moon (Kazanji no tsuki) | ||
91 | Musashi Plain moon (Musashino no tsuki) | ||
92 | Monkey-music moon (Sarugaku no tsuki) | ||
93 | A Buddhist monk receives cassia seeds on a moonlit night (Bonso tsukiyo ni keishi o uku) | ||
94 | Moon on the Sumida River | ||
95 | The moon’s invention (Tsuki no hatsumei) | ||
96 | Chofu village moon (Chofu sato no tsuki) | ||
97 | The moon and the abandoned old woman (Obasute no tsuki) | ||
98 | The moon’s four strings (Tsuki no yotsu no o) | ||
99 | Saga Moor moon (Sagano no tsuki) | ||
100 | Farmers celebrating the autumn moon |
References
- ^ a b http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/series/moon.html
- ^ Cite error: The named reference
TjardesTaiso2003
was invoked but never defined (see the help page). - ^ https://www.wdl.org/en/item/15165/
- ^ Stevenson, John (1992). Yoshitoshi's One Hundred Aspects of the Moon. San Francisco Graphic Society. p. 49. ISBN 0-9632218-0-9.
- ^ http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/works/P.19-2003_SE.html
- ^ http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/works/P.21-2003_SE.html
- ^ http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/works/P.22-2003_SE.html
- ^ http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/works/P.76-2004_SE.html
- ^ http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/works/P.23-2003_SE.html
[[Category:Ukiyo-e print series]]
- ^ Tamara Tjardes; Yoshitoshi Taiso (2003). One Hundred Aspects of the Moon: Japanese Woodblock Prints by Yoshitoshi. Museum of New Mexico Press. ISBN 978-0-89013-438-2.
- ^ Tsukioka Yoshitoshi; Grafton, John (2013). One Hundred Aspects of the Moon. Dover Publications. ISBN 978-0-486-49853-9.
- ^ http://yoshitoshi.verwoerd.info/