Hiroshige & Yoshitoshi: Two Masters of Ukiyo-e

The origins of ukiyo-e lie in the depictions of the pleasure-seeking “Floating world” and the people who lived in it. Thus it is no surprise that people are important features of most of Hiroshige’s work, even the landscapes.

Famous Places of Kyoto is a celebration of the parks and scenic vistas of Kyoto. The series focuses on the intimate interaction between humans and nature in contrast to Western landscapes, which are often devoid of people.

This short series includes depictions of Kyoto at all times of the year. The famous cherry blossom season is highlighted, as well as the rainy season.

Hiroshige’s designs are known for being atmospheric. Even when depicting loud, busy, or chaotic scenes, his works often have a serene quality. This tranquility is a key aspect of his distinctive style.

Hint: Click on the image in the lower left corner to explore the stories, myths, and characters illustrated in each image.

Yoshitoshi studied under the tutelage of Kuniyoshi, a contemporary of Hiroshige. All three were part of the Utagawa school.

Kuniyoshi encouraged his students to focus on realistic interpretations rather than capturing the general sense of the subject. This realism, combined with bright colors and unique perspectives contributed to Yoshitoshi’s iconic style.

The moon has long been a popular motif in Japanese poetry, essays, and stories. It is associated with romance, the cycle of life and Buddhist spirituality, all of which are featured in One Hundred Aspects of the Moon.

Yoshitoshi illustrated stories which were part of the cultural memory of Japan. Much like paintings depicting episodes from the Bible or Classical mythology in the West, the characters and historic episodes in Yoshitoshi's prints were instantly recognizable to his audience.

Japanese folklore is deeply steeped in Chinese mythology and history. Prior to the Tokugawa era of isolation, trade, philosophies, religion, and stories flowed freely from Mainland China to Japan. Yoshitoshi used this legacy as the basis for many of his narrative prints.

Humorous stories, such as this one about two foolish scoundrels and their ill-conceived plots, create a balance of tones within this series.

Yoshitoshi frequently derived inspiration from poetry, considered one of the highest forms of art and wit in medieval Japan. In this print and others, he included lines of relevant verse, generally taken from the classical poetry canon.

Symbolism is an integral part of Yoshitoshi's prints. In addition to poetry, he used well-known visual devices to communicate omens. For example, birds in a scene could suggest the inherent transience of life. A crescent moon meant good luck.

Some prints of this series do not depict narrative scenes. Yoshitoshi created portraits of famous historic musicians, poets, and writers, perhaps in an homage to the dying traditional arts of Japan.

Yoshitoshi included religious figures in this series. Famous historical figures of Buddhism feature more commonly in his later work, in contrast to his earlier violent Samurai and macabre portraits.

Despite achieving great acclaim during his lifetime, Yoshitoshi suffered from mental and emotional instability throughout his career. When he passed away at the age of 53 in 1892, many considered the art of ukiyo-e to have died with him.

Although Yoshitoshi may have been its last master, the influence of ukiyo-e has lasted to modern day. Contemporary artists such as Degas, Monet, Van Gogh and Toulouse-Lautrec were inspired by ukiyo-e prints and today museum collections ensure the craft has a global audience.

Upon his return to Japan in 1889, Sho worked as a Christian missionary then served in the Japanese Diet for 26 years. He supported increased Western presence during Meiji Era and the resulting changes. Sho’s lifestyle was antithetical to that of the floating world, yet his appreciation and collection of the art of Hiroshige and Yoshitoshi remained a lifelong endeavor.

Courtesy of the Billings Family Archives, The Woodstock Foundation, Inc.