Utagawa Yoshiume

Utagawa Yoshiume (歌川芳梅, 1819-1879) was a nineteenth-century Japanese woodblock print designer who worked principally in the Osaka kamigata-e tradition during the late Edo and early Meiji periods. He was a pupil of Utagawa Kuniyoshi (1797-1861), the great Edo master celebrated for warrior prints, comic figures, and inventive series of musha-e (military pictures), and he carried Kuniyoshi's lively manner into the distinctive idiom of Osaka prints during the middle decades of the nineteenth century.

The Utagawa school had by Yoshiume's lifetime become the dominant lineage of Japanese print designers, splitting into branches centered on Edo (modern Tokyo) and on Osaka, Japan's second great urban centre and the heart of the kamigata cultural region. Edo prints, popularized internationally by figures such as Hokusai and Hiroshige, tended toward the larger ōban format and the mass tourist and entertainment markets of the shogunal capital. Osaka prints, by contrast, were produced for a smaller, more specialized audience of devoted kabuki fans and theatre clubs and were issued in the smaller chūban format. They favoured close attention to actor likenesses, lavish decorative techniques such as mica (kira-zuri), burnishing (tsuya-zuri), embossing, and metallic pigments, and a more restrained palette than Edo brashness. Yoshiume worked fluently within these kamigata conventions and is among the most consistently identifiable Osaka designers of the late Tokugawa years.

Yoshiume's documented output ranges across the standard kamigata-e subjects: yakusha-e (actor prints) of the leading Osaka kabuki performers of his day, musha-e of historical and legendary warriors drawn from Japanese and Chinese sources, mitate prints adapting earlier narratives to current theatrical casts, and series of small-format chūban sheets in the lustrous Osaka idiom. His most thoroughly documented works in Western collections include a group of related chūban prints dated to the Kaei era (1848-1852) now held by the Fine Arts Museums of San Francisco (Legion of Honor), which together comprise a sustained Osaka-style series in which Yoshiume treats Nō, Kagura, and other classical subjects in the meticulous decorative manner characteristic of mature kamigata-e. The same Legion of Honor holding includes prints titled "Kasuga ryūjin" (the dragon-god of Kasuga, drawn from the Nō play of that name), "Hida no Takumi" (the legendary master carpenter Hida no Takumi), "Kagura" (sacred Shinto dance), "Kaminari" (the thunder god), and a dancer standing beside a drum, all dating to the early 1850s and acquired together as part of a single group.

Yoshiume also produced warrior portraits in the Utagawa-school musha-e tradition founded by Kuniyoshi, his teacher. Among these is a Library of Congress sheet from the 1860s depicting Zhang Fei (張飛, Japanese Chōhi), one of the three sworn brothers of the Chinese Three Kingdoms narrative whose story had been popularized in Japan through Edo-period adaptations of the Sanguozhi yanyi (The Romance of the Three Kingdoms). The print follows the convention established by Kuniyoshi for full-length warrior portraits, depicting Zhang Fei carrying a staff and walking through snow, and represents the way Yoshiume transmitted his master's heroic idiom into the Osaka kamigata-e context.