Teisai Hokuba

Teisai Hokuba (蹄斎北馬, 1771–1844) was a Japanese ukiyo-e printmaker, book illustrator, and painter active in Edo from the closing years of the eighteenth century through the first half of the nineteenth. Among the senior pupils of Katsushika Hokusai, Hokuba is remembered today above all as one of the most prolific and refined designers of surimono — the privately commissioned, deluxe-edition prints used by kyōka poetry circles, theatre clubs, and well-to-do merchant patrons to mark seasonal occasions and exchange verses. He worked across the full span of the Bunka and Bunsei eras (1804–1830), the period scholars treat as the golden age of the surimono format, and his output across that quarter-century forms one of the central bodies of work by which the genre is now understood.

Hokuba's personal name was Arisaka Gorohachi (有坂五郎八); the art name Hokuba — literally 'Northern Horse' — paired the 'Hoku' (北) of his master Hokusai with 'ba' (馬, horse), and the studio name Teisai (蹄斎, 'hoof studio') carried through the same equine theme. Born in Edo to a family with apparent samurai connections, he entered Hokusai's atelier in the 1790s and quickly distinguished himself among the master's pupils — a group that included Hokkei, Shinsai, and Hokuju — for his elegant figure work. By around 1798 he was producing designs under his own signature, and by the first years of the nineteenth century he had established the relationship with the kyōka networks whose patronage would shape the rest of his career.

Kyōka (狂歌), the 'mad verse' of comic and satirical poetry that flourished in Edo from the late eighteenth century, was the engine behind the surimono market. Poets organized themselves into clubs (ren) under master judges such as Ōta Nanpo (Shokusanjin); the clubs commissioned surimono — typically square shikishiban prints, roughly twenty centimeters per side — to circulate verses at New Year's, at hanami parties, and at the changing of seasons. Privately commissioned rather than published for the open market, surimono were produced in small editions on the finest paper, lavished with expensive pigments, embellished with metallic dust, blind-printing (karazuri), and burnishing, and untroubled by the censors who policed commercial nishiki-e. They afforded designers a freedom unavailable elsewhere in the print trade — and Hokuba seized it with a virtuosity few peers matched.

Hokuba's surimono cover an unusually broad range: New Year's egoyomi (picture calendars), kachō-e (bird-and-flower) series, allegorical themes such as the Eight Immortals of the Wine Cup, long-format landscapes of travelers and Mount Fuji, and many single-figure bijin in interiors, with mirrors, with musical instruments, with books. His bijin style is unmistakable. Where his master Hokusai's beauties carry a wiry, slightly angular energy, Hokuba's are calm and rounded, with full oval faces, gentle downward-curving eyes, and small composed mouths. Figures lean toward sitting and kneeling poses, their kimono falling in deep folds patterned with intricate textile design that surimono printing — uniquely capable of blind embossing — was able to render. His bijin are not the celebrity courtesans of Yoshiwara okubi-e but a quieter cast: musicians, attendants, mothers with children, women in the interior moments of domestic life. This register suited the private, occasional nature of the surimono commission.