Utagawa Kuniyasu

Utagawa Kuniyasu (歌川国安, 1794-1832) was a Japanese ukiyo-e print designer of the Utagawa school who worked in Edo during the Bunka (1804-1818) and Bunsei (1818-1830) eras, a generation that produced some of the most refined and decoratively elaborate prints in the history of the genre. He was a direct pupil of Utagawa Toyokuni I (1769-1825), the dominant teacher of the early-nineteenth-century Edo print world, and a fellow student of Kunisada (later Toyokuni III) and Kuniyoshi. Within that famous workshop Kuniyasu specialized chiefly in bijin-ga (pictures of beautiful women), yakusha-e (actor prints), and privately commissioned surimono, working in the lavish polychrome nishiki-e idiom that defined late-Edo print culture.

Kuniyasu was born in Edo in 1794. He entered Toyokuni I's studio sometime in the 1810s and adopted the Utagawa surname together with the personal name Kuniyasu, a name constructed on the standard Utagawa-school pattern in which pupils took the first character of their teacher's name (Kuni, from Toyokuni) followed by a distinguishing second character. He also used the art names (gō) Ipposai (一鳳齋), under which many of his finest bijin-ga and surimono are signed, and occasionally Nishikawa Yasunobu. Like his Utagawa peers, Kuniyasu worked across the full range of commercial print genres while developing a personal style that became increasingly distinctive in the Bunsei decade.

His bijin-ga of the late 1810s and 1820s are among the most accomplished depictions of Edo women produced in their generation. Kuniyasu favoured the tall oban format and built his compositions around willowy, elegantly elongated female figures dressed in densely patterned robes whose surface complexity rivals anything in late-Edo printmaking. A characteristic series, the so-called untitled four-seasons set held by the Art Institute of Chicago, presents a single beauty for each season; the women stand or recline against minimal grounds, their kimono and obi rendered with the dense small-scale patterning, deep mineral pigments, and selective use of metallic and embossed surfaces that distinguish Bunsei-era nishiki-e. Such series catered to the urban Edo market for refined images of women — geisha, courtesans, and ordinary townswomen — and reflected the dominant aesthetic of Kuniyasu's mature decade.

Alongside this bijin-ga production, Kuniyasu was a busy designer of yakusha-e and kabuki-related prints. He worked in the standard Edo formats — single-sheet oban portraits and large multi-sheet horizontal compositions — and developed an unusual specialty in prints showing women holding hand-puppets dressed and made up as celebrated actors in current kabuki roles. Two such sheets from a multi-panel composition of the 1820s are preserved in the Art Institute of Chicago, depicting a woman with a puppet of Ichikawa Danjuro VII as Karigane Bunshichi and a companion sheet with a puppet of Onoe Kikugoro III as Gokuin Sen'emon. These mitate (visual parody) prints sit at a witty intersection of bijin-ga and yakusha-e, combining the beauty's elegant figure with a miniature theatrical portrait of one of the great kabuki stars of the Bunsei stage.