Utagawa Hiroshige (Jap., 1797-1858), Man on Horseback Crossing a Bridge, from Hiroshige’s series Sixty-nine Stations of the Kisokaido, 1834-1842, Polychrome woodblock print; ink and color on paper, 17.8 x 22.9 cm.
Kuniyoshi (1797 - 1861)
Miyanokoshi: Oto no Miya
Series; Sixty-nine Post Stations of the Kisokaido Road, 1852 - 1853
Miyanokoshi: Oto no Miya - Fantastic scene of Prince Oto no Miya, the son of exiled Emperor Go-Daigo, and one of his students reading scriptures in a cave. As the nobleman reads from a scroll, his companion looking on attentively, his murderer, Fuchibe Yoshihiro, approaches at left, peering around the rocky edge of the cave. A flame flickers from an oil lamp on a stand, and scrolls are neatly stacked on a low black lacquer writing desk before the prince.
Woodblock print.(69 Stations of the Kisokaido Highway). No.30. Yaegaki-hime dancing with the helmet of Shingen while ghost foxes dance behind her. Print artist: Utagawa Kuniyoshi (歌川国芳) (1797-1861) Published by: Yawataya Sakujiro Date1852 (8/1852) Made in: Japan
No. 49 Hosokute 細久手Title (series)Kisokaido rokujoku tsugi no uchi 木曾街道六十九次之内 (Sixty-Nine Post Stations of the Kisokaido) Woodblock print, oban tate-e. Hosokute Station. Horikoshi Masatomo (the historical Hotta Masanobu) tormented on his sickbed by ghosts Block cut by: Hori Takichi (彫多吉) Print artist: Utagawa Kuniyoshi (歌川国芳) Published by: Yawataya Sakujiro Edo Period 1852 (7th month)
//…Kuniyoshi…// (1797 - 1861) Tsumagome: Abe no Yasuna and the Fox Kuzunoha Series; Sixty-nine Post Stations of the Kisokaido Road, 1852 - 1853.
The nobleman Abe no Yasuna once rescued a fox by battling the hunter who had trapped it. The fox returned to visit him as a beautiful young lady named Kuzunoha in order to tend the wound he sustained in the fight. They married and had a child, but the couple’s son caught a glimpse of her true form so she decided to leave her family. Here, Kuzunoha appears in ghostly form as she changes back into a fox, her young son looking up at her curiously, tugging at the hem of her transparent robe. Her husband watches in surprise from between the sliding shoji screens, where she has written a farewell note on the paper. She smiles at him one last time before returning to her true nature.