Moso (Chinese: Meng Zong), from the series "Fashionable Japanese Versions of the Twenty-four Paragons of Filial Piety (Furyu Yamato nijushiko)"

Also from the Furyu Yamato nijushiko (Fashionable Japanese Versions of the Twenty-four Paragons of Filial Piety) series in the Art Institute of Chicago, dated to about 1770 to 1772, this chuban print depicts Moso (Chinese: Meng Zong), the paragon famous for having melted his way through winter snow with his tears in order to dig up bamboo shoots that his sick mother had requested out of season. The bamboo-in-snow episode is one of the most pictorial of the twenty-four paragons, and Edo artists across schools made repeated use of it. Koryusai's contemporary Edo recasting plays on the gap between the canonical Chinese figure and his fashionable Japanese surrogate, with the bamboo and snow legible as both faithful illustration and elegant winter motif. The series demonstrates Koryusai's sustained engagement with Chinese-derived moral and literary scaffoldings as material for bijin-ga and mitate-e.