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Japan: 'Shelter from the Rain, Encounters on the Road at New Year, No. 6: Actors Ichikawa Kodanji IV, Iwai Kumesaburo III, Bando Hikosaburo IV'. Part of triptych print by Utagawa Kunisada I (1786-1865), 1855. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Kanagawa Station: Actor Ichikawa Ebizo V as Ferryman Tonbei'. From the series 'Fifty-three Stations of the Tokaido Road' by Utagawa Kunisada I (1786-1865), 1852. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Shelter from the Rain, Encounters on the Road at New Year, No. 5: Actors Arashi Kichisaburo III, Asao Okuyama III, Ichikawa Hirogoro I, Nakamura Daikichi III'. Part of triptych print by Utagawa Kunisada I (1786-1865), 1855. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Shelter from the Rain, Encounters on the Road at New Year, No. 4: Actors Sawamura Tossho II, Nakamura Tsuruzo I, Kawarazaki Gonjuro I'. Part of triptych print by Utagawa Kunisada I (1786-1865), 1855. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Act Seven'. Woodblock print from act seven of the <i>Chushingura</i> by Utagawa Kunisada (1786-1865), c. 1840-1860. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Japan: 'Tale of the Courtesan Shiratama'. Woodblock print by Utagawa Kunisada (1786-1865), 1861. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
The Namazu, also called the Onamazu, is a creature in Japanese mythology and folktales. The Namazu is a gigantic catfish said to cause earthquakes and tremors. Living in the mud under the Japanese isles, the Namazu is guarded by the protector god Kashima, who restrains the catfish using the <i>kaname-ishi</i> rock. Whenever Kashima lets his guard down, Namazu thrashes about and causes violent earthquakes.<br/><br/> The Namazu rose to new fame and popularity after the Ansei great earthquakes that happened near Edo in 1855. This led to the Namazu being worshipped as a god of world rectification (<i>yonaoshi daimyojin</i>), sent by the gods to correct some of the imbalances in the world.<br/><br/> Catfish woodblock prints known as <i>namazu-e</i> became their own popular genre within days of the earthquake. They were usually unsigned and often depicted scenes of a namazu or many namazu atoning for their deeds. They were quickly squashed by the Tokugawa Shogunate, the prints censored and destroyed, with only a handful surviving to this day.
Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints in 19th-century Japan. His reputation and financial success far exceeded those of his contemporaries.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo (now Tokyo), with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa school, who soon took him as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa school in 1825, where he would teach and design woodblock prints until his death in 1865, having produced the largest collection of woodblock prints of any designer in 19th-century Japan.
Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints in 19th-century Japan. His reputation and financial success far exceeded those of his contemporaries.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo (now Tokyo), with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa school, who soon took him as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa school in 1825, where he would teach and design woodblock prints until his death in 1865, having produced the largest collection of woodblock prints of any designer in 19th-century Japan.
Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints in 19th-century Japan. His reputation and financial success far exceeded those of his contemporaries.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo (now Tokyo), with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa school, who soon took him as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa school in 1825, where he would teach and design woodblock prints until his death in 1865, having produced the largest collection of woodblock prints of any designer in 19th-century Japan.
Utagawa Kunisada (1786 – January 12, 1865), also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo, with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa School, who soon took him on as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa School in 1825, where he would teach and design woodblock prints until his death in 1865, having achieved the largest collection of woodblock prints of any designer in 19th-century Japan.
Japan: 'Actor Ichikawa Danjuro VIII (1823-1854) in a Loin-Cloth', woodblock print by Utagawa Kunisada (1786-1865), 1857. Ichikawa Danjūrō was a Japanese kabuki actor of the prestigious Ichikawa Danjūrō line.<br/><br/> Utagawa Kunisada, also as known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints during 19th-century Japan. His reputation and financial success far exceeded those of his fellow contemporaries.
Utagawa Kunisada (also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Japan: 'Ichikawa Harima No. 7: Okaru Sawamura Shozo'. Woodblock print by Utagawa Kunisada I (1786-1865), 19th century. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Utagawa Kunisada, Utagawa Toyokuni III (1786 – 12 January 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kunisada (1786 – January 12, 1865), also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/> Kunisada is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses. Notable among his book prints are shunga pictures, which appeared in numerous books. Due to censorship, they are signed only on the title page with his alias 'Matahei'.
Utagawa Kunisada (also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kunisada (also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kunisada (also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kunisada (also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/> Raijin is a god of lightning, thunder and storms in the Shinto religion and in Japanese mythology. He is typically depicted as a demonic spirit beating drums to create thunder, usually with a <i>tomoe</i> symbol drawn on the drums.
Japan: 'Actor Onoe Kikujiro II as Fusahachi's Wife Onui'. From the series 'The Book of the Eight Dog Heroes' by Utagawa Kunisada II (1823-1880), 1852. Utagawa Kunisada II was a Japanese <i>ukiyo-e</i> printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/> Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Nichiren (February 16, 1222 – October 13, 1282) was a Buddhist monk who lived during the Kamakura period (1185–1333) in Japan. Nichiren taught devotion to the Lotus Sutra, entitled Myoho-Renge-Kyo in Japanese, as the exclusive means to attain enlightenment and the chanting of Namu-Myoho-Renge-Kyo as the essential practice of the teaching.<br/><br/> Various schools with diverging interpretations of Nichiren's teachings comprise Nichiren Buddhism.
Utagawa Kunisada (also known as Utagawa Toyokuni III; 1786 – 12 January 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kunisada II (歌川国定)(1823–1880) was a Japanese ukiyo-e printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/> A pupil of Utagawa Kunisada I, he signed much of his early work 'Baidō Kunimasa III'. He took the name Kunisada after marrying his master's eldest daughter in 1846. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is confusingly often known as Toyokuni IV.<br/><br/> Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Empress Jitō (持統天皇 Jitō-tennō, 645 – 13 January 703) was the 41st monarch of Japan, according to the traditional order of succession. Jitō's reign spanned the years from 686 through 697.<br/><br/> In the history of Japan, Jitō was the third of eight women to take on the role of empress regnant. The two female monarchs before Jitō were (1) Suiko and (2) Kōgyoku/Saimei. The five women sovereigns reigning after Jitō were (3) Gemmei, (4) Genshō, (5) Kōken/Shōtoku, (6) Meishō, and (7) Go-Sakuramachi.<br/><br/> Jitō took responsibility for court administration after the death of her husband, Emperor Temmu, who was also her uncle. She acceded to the throne in 687 in order to ensure the eventual succession of her son, Kusakabe-shinnō. Throughout this period, Empress Jitō ruled from the Fujiwara Palace in Yamato.<br/><br/> Prince Kusabake was named as crown prince to succeed Jitō, but he died at a young age. Kusabake's son, Karu-no-o, was then named as Jitō's successor. He eventually would become known as Emperor Mommu.<br/><br/> In 697, Jitō abdicated in Mommu's favor; and as a retired sovereign, she took the post-reign title daijō-tennō. After this, her imperial successors who retired took the same title after abdication. The actual site of Jitō's grave is known. This empress is traditionally venerated at a memorial Shinto shrine (misasagi) at Nara. The Imperial Household Agency designates this location as Jitō's mausoleum. It is formally named Ochi-no-Okanoe no misasagi.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.
Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Lu Zhishen, nicknamed 'Flowery Monk', is a fictional character in the Water Margin, one of the Four Great Classical Novels of Chinese literature. He is the lead character in the first major story cycle of the novel, in which he comes to epitomise loyalty, strength, justice but also brashness. He ranks 13th of the 36 Heavenly Spirits of the 108 Liangshan heroes.<br/><br/> Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/>Utagawa Kunisada II (歌川国定)(1823–1880) was a Japanese ukiyo-e printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/>A pupil of Utagawa Kunisada I, he signed much of his early work 'Baidō Kunimasa III'. He took the name Kunisada after marrying his master's eldest daughter in 1846. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is now often known as Toyokuni IV.<br/><br/>Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/>Utagawa Kunisada II (歌川国定)(1823–1880) was a Japanese ukiyo-e printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/>A pupil of Utagawa Kunisada I, he signed much of his early work 'Baidō Kunimasa III'. He took the name Kunisada after marrying his master's eldest daughter in 1846. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is now often known as Toyokuni IV.<br/><br/>Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
'Aoto Zōshi Hana no Nishiki-e' (青砥稿花紅彩画), as the original and fullest version of this play is known, is a tale in five acts of the shiranamimono (tales of thieves) sub-category of the kizewamono (rough contemporary piece) genre of kabuki plays. Written by Kawatake Mokuami, it first premiered at the Ichimura-za in Edo in March 1862.<br/><br/> The play centers on a band of five thieves, based on real thieves and criminals of Edo period Osaka: Karigane Bunshichi, An no Heibei, Gokuin Sen'emon, Kaminari Shōkurō and Hotei Ichiemon. The name of Nippon Daemon, the leader of the band, is taken from that of Nippon Saemon, who was captured and executed in 1747. The character of Benten Kozō, meanwhile, is said to have been based upon a servant at the Iwamoto-in temple on Enoshima, an island dedicated to the goddess Benten.
Utagawa Kunisada (1786 – January 12, 1865), also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
A member of the Thirty-six Medieval Poetry Immortals, Izumi Shikibu served at the court of Empress Shoshi (988–1074).<br/><br/> She is best known for the Izumi Shikibu Collection (和泉式部集 Izumi Shikibu-shū) and the Imperial anthologies. Her life of love and passion earned her the nickname of 'The Floating Lady' from Michinaga. Her poetry is characterized by passion and sentimental appeal. Her style was the direct opposite of that of Akazome Emon, even though both served in the same court and were close friends.<br/><br/> At the court she also nursed a growing rivalry with Murasaki Shikibu, who had a similar poetic style, though this rivalry pales in comparison with Murasaki Shikibu's spirited competition with Sei Shōnagon. Izumi Shikibu's emotional poetry won her the praise of many at the court, including Fujiwara no Kinto.
Hiroshige II (歌川広重 2代目, 1829 – October 21, 1869) was a designer of ukiyo-e and Japanese woodblock prints. He was born Suzuki Chinpei (鈴木鎮平?). He became a student and the adopted son of Hiroshige, then was given the artistic identity of, 'Shigenobu'. When the senior Hiroshige died in 1858, Shigenobu married his master’s daughter, Otatsu.<br/><br/>Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Empress Jitō (持統天皇 Jitō-tennō, 645 – 13 January 703) was the 41st monarch of Japan, according to the traditional order of succession. Jitō's reign spanned the years from 686 through 697.<br/><br/> In the history of Japan, Jitō was the third of eight women to take on the role of empress regnant. The two female monarchs before Jitō were (1) Suiko and (2) Kōgyoku/Saimei. The five women sovereigns reigning after Jitō were (3) Gemmei, (4) Genshō, (5) Kōken/Shōtoku, (6) Meishō, and (7) Go-Sakuramachi.<br/><br/> Jitō took responsibility for court administration after the death of her husband, Emperor Temmu, who was also her uncle. She acceded to the throne in 687 in order to ensure the eventual succession of her son, Kusakabe-shinnō. Throughout this period, Empress Jitō ruled from the Fujiwara Palace in Yamato.<br/><br/> Prince Kusabake was named as crown prince to succeed Jitō, but he died at a young age. Kusabake's son, Karu-no-o, was then named as Jitō's successor. He eventually would become known as Emperor Mommu.<br/><br/> In 697, Jitō abdicated in Mommu's favor; and as a retired sovereign, she took the post-reign title daijō-tennō. After this, her imperial successors who retired took the same title after abdication. The actual site of Jitō's grave is known. This empress is traditionally venerated at a memorial Shinto shrine (misasagi) at Nara. The Imperial Household Agency designates this location as Jitō's mausoleum. It is formally named Ochi-no-Okanoe no misasagi.
Kabuki (歌舞伎) is a classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers.<br/><br/>Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
A member of the Thirty-six Medieval Poetry Immortals, Izumi Shikibu served at the court of Empress Shoshi (988–1074).<br/><br/> She is best known for the Izumi Shikibu Collection (和泉式部集 Izumi Shikibu-shū) and the Imperial anthologies. Her life of love and passion earned her the nickname of 'The Floating Lady' from Michinaga. Her poetry is characterized by passion and sentimental appeal. Her style was the direct opposite of that of Akazome Emon, even though both served in the same court and were close friends.<br/><br/> At the court she also nursed a growing rivalry with Murasaki Shikibu, who had a similar poetic style, though this rivalry pales in comparison with Murasaki Shikibu's spirited competition with Sei Shōnagon. Izumi Shikibu's emotional poetry won her the praise of many at the court, including Fujiwara no Kinto.
Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/>In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/> Utagawa Kunisada II (歌川国定)(1823–1880) was a Japanese ukiyo-e printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/> A pupil of Utagawa Kunisada I, he signed much of his early work 'Baidō Kunimasa III'. He took the name Kunisada after marrying his master's eldest daughter in 1846. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is now often known as Toyokuni IV.<br/><br/> Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Utagawa Kunisada (also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
A secret tryst with a young woman, her face partially hidden perhaps against the cold, opening a sliding screen which lets a beam of light illuminate her through the darkness. From a set of six prints: Secret Meetings by Moonlight, Tsuki no kage shinobiau yoru. Published c. 1836 – 38 by Yamamoto Kyubei.<br/><br/> Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.