Who's On First?

 

Tattoos in Japanese Prints 一

Zhu Gui.jpg

Utagawa Kuniyoshi

Published by Kagaya Kichiemon from 1827-30

39.1 x 26.5 cm

The Japanese woodblock prints of the Edo period have been an inspiration for tattooers since the beginning. Actually, it’s extremely difficult to discern where this beginning is. Which came first, the Japanese tattoo or the woodblock prints?

The prints shown here are of Zhu Gui, the Dry-land Crocodile (Kanchi Kotsuritsu Shuki) from the 108 heroes characterized in the Suikoden.

Zhu Gui, the Dry-land Crocodile (Kanchikotsuritsu Shuki), from the series One Hundred and Eight Heroes of the Popular Shuihuzhuan (Tsûzoku Suikoden gôketsu hyakuhachinin no hitori)

Artist Utagawa Kuniyoshi (Japanese, 1797–1861), Publisher Ibaya Senzaburô (Dansendô) (Japanese)

1843–47 (Tenpô 14–Kôka 4); first edition about 1827–30 (Bunsei 10–Tenpô 1)

DESCRIPTIONThe censor's seal indicates that this impression is a reprint of 1843-47.

SIGNEDIchiyûsai Kuniyoshi ga
一勇斎国芳画

MARKSCensor's seal: Watari
No blockcutter's mark
改印：渡
彫師：なし

PROVENANCE1964, bequest of Maxim Karolik (1893-1963) to the MFA. (Accession Date: June 8, 1964)

 
Tattoos in Japanese Print, SuikodenAsher EmersonJapanese, Woodblock, print, edo period, tattooers, ukiyo-e, Kanchi Kotsuritsu Shuki, Zhu Gui, 108 Bandits, 108 Heroes, Water Margin, Ryosanpaku, Liangshan Marsh, Nine tailed Fox, Kuniyoshi