nishiki e

Kawase Hasui Tsuta Marsh, Mutsu, from Series Title: Souvenirs of Travel, 1st. Series, 1919 Color woodblock print Technique: Nishiki-e (Woodblock print with color blocks) Honolulu Museum of Art

anonymous asked:

Because I'm a sick soul and loved the scenario where Suzuya and White Kaneki found their recently kidnapped and tortured s/o, can I request what Tsukiyama and Nishiki would've have done with the same situation, please?

Huehuehue, because I too am a sick soul I made these longer \(^o^)/

You can find the previous ask here

TSUKIYAMA comes across his lover in one of the worst states he could have imagined. They’re lying there, trembling, shuddering, crying with their blood fanning out around them. His partner has made their self as small as the limitations of their body would allow, as if they believed that if they made themselves small enough they could disappear from the world all together. And something in Tsukiyama ruptures, furious towards those who would harm his precious one, filled with an overwhelming sorrow and concern for his partner’s current state, and guilt for being powerless to protect them. He is a ghoul—a dangerous ghoul at that! However he casts aside those thoughts. None of that mattered, not in the least. He became singularly concerned with the well-being of his partner.

He approaches their more dead than alive body, speaking softly to them, assuring them that he would never let something like this happen, not even if they chose to leave his side. Their shuddering increases in intensity as they try to maneuver their body away from the perceived threat. They speak, muttering for him to go away, just please, please, please, go away! “Don’t hurt me anymore, I’ll do anything you say just stop! Anything! Go away, no, no, no, no…!” Tsukiyama is hurt, not because those words are directed at him, but because his partner had been hurt enough to beg for their life so.

Using every form of endearment he can, he approaches them much like one might approach a wounded animal before kneeling a distance away. He can see when his words get through to his partner because they grow silent and slowly uncurl from the fetal position. Their lips tremble, as if they are afraid to let anything pass their lips. They don’t say anything, but they manage to crawl towards him, closing the short distance between them. In their mangled state, the sight is almost heartbreaking, and he sweeps them into the protection of his arms. Realizing that the threat is gone, his partner bursts into tears, body shaking with the force of their sobs. Tsukiyama whispers soothing reassurances that they are safe now. Never would he let them face this kind of torture again. Never.

NISHIKI had expected to see his partner in an absolutely horrid state when he found them, but all the scenarios he’d run through his head didn’t compare to the reality before him. He wonders for a brief moment if he’s too late, there’s so much blood and the body should definitely not be twisted in such a way. When he calls out to them, they don’t respond at all. They don’t flinch, not even a single muscle twitches as way of acknowledgement. They’re dead, he thinks, they’ve died and it’s his fault for being unable to protect them. His partner trembles and he realizes that they are very much alive, but in their current state Nishiki doesn’t know if he should be happy about. But they’re alive, as long as they’re alive they’ll heal.

He’s not sure how to approach them; treading carefully he tells them who he is, afraid that he’ll trigger some horrific memory still fresh for them. He’s made it halfway to his partner, his pace painstakingly slow. He asks them if they remember the first date they went on; did they remember their first kiss too? What about the first time he said he loved them? At this point, he’s talking more for his sake than anything, because if he doesn’t do something, he feels that he himself will break down, unable to do anything for his partner. He’s about to crouch down next to them when he hears them speak; it’s more of a dry sob than actual speech, but he hears their words with undeniable clarity. “Don’t touch Nishi….ki…”

It’s then he drops to his knees, holding them as delicately as he can in his arms, telling them that he’s here, he’s fine, nothing is going to hurt him, and he won’t let anyone hurt them like this ever again. And it hurts. It hurts, not just because his partner is bleeding endlessly, but because they had to suffer with the threat of harm coming to the person they loved. His partner remains still in his arms, not crying, not responding, effectively dead despite the fact their heart is still beating. He manages to choke out the words before the tears come. “You idiot…! I could have endured at least this much, I could have endured much more. Why would you….” And so he cried, shedding tears for his partner who could not bring themselves to cry for their own sake.

flickr

Utamaro Kitagawa “Mother Dozing while Child Topples Fish Bowl” c.1802 woodblck by Beth Timken

<br /><i>Via Flickr:</i>
<br />Kitagawa Utamaro (1750-1806) was a Japanese printmaker and painter, and is considered one of the greatest artists of Ukiyo-e woodblock prints.

Woodcut British Museum, UK

One composition of six designs. Mother dropped off to sleep; baby boy knocked over planted basin in which it was; goldfish in water pouring out. Nishiki-e on paper.

3

Utagawa Kuniyoshi 歌川国芳 (1797-1861)

Ko neko no kai 古猫之怪 (Ancient ghost of cat) from The Story of Nippondaemon and the Cat (Nippondaemon neko no koji) - Triptych - Japan - 1847

Source ja.ukiyo-e.org

Suzuki Harunobu (Japanese, 1725?-1770), Young woman on a veranda, looking at morning glories, from the series A Stylish Version of Five Colors of Ink , ca. 1768, chūban nishiki-e (color woodblock print)

The Portland Museum

Katsushika Hokusai (Japanese, 1760-1849), The Falling Mist Waterfall at Mount Kurokami in Shimotsuke Province, from the series A Tour of Waterfalls Around the Country , 1833-1834, ôban nishiki-e (color woodblock print)

The Portland Art Museum

Hashimoto Chikanobu (Japanese, 1838-1912), #14: Schoolgirl, from the series True Beauties , 1897, ôban nishiki-e (color woodblock print) with embossing, 

Portland Art Museum