About Ukiyo-e Master Toyohara Kunichika

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About Ukiyo-e Master Toyohara Kunichika
Czcionka:Mniejsze АаWiększe Aa

© Oleg Torbin, 2023

ISBN 978-5-0059-5628-6

Created with Ridero smart publishing system

Intro

Occasionally came up to know about Toyohara Kunichika when succeeded to conclude a Contract with Samara Art Gallery in January 2022. After passing exam to translate 5 art pieces of Meiji era the Gallery entrusted me to translate 40 pieces paintings, pottery, sculptures collected by Alfred von Wakano – an Austrian entrepreneur who established Samara brewery back in 1881. After 5 months of working with the collection birds view on the completed job braught me to the tought Kunichika“s ukiyo-e from the series «36 puzzles» was the biggest treasure among the art pieces triggering my further interest in this series.

Saying a few words about the Master, he was born on June 30, 1835 in Edo (current Tokyo) as the second son of a Sento (Japanese-stype sauna) owner. His real name at borning was Arakawa, and the name «Kunichika» he composed from the two characters borrowed from the names of his teachers – first teacher Toyohara Chikunobu and biggest teacher Utagawa Toyokuni III (Kunisada).

Like many other painters Kunichika used to change places of living frequently to find a fresh background for new paintings, but unlike most of the painters he used to get married almost with every shift – it is regarded that Kunichika married over 40 times.

Despite having so many wives the Master never kept his earnings for long – normally he spent them all as soon as he received them – drinking sake with friends. When he did not have money but saw a person in need – he used to give out his personal belongings, and not limiting to his personal belongings. There was a saying that if you go to visit Kunichika“s house – better not take with you expensive things as the Master normally does not return it but uses for charity.

High level of painting skill combined with the Master“s excentric nature resulted in reviving of public interest towards Kabuki theater once weakened during Meji reforms (1867 – 1877).

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