Utagawa Kuniyoshi - Triptychs

In the Ruined Palace at Sōma, Masakado's Daughter Takiyasha Uses Sorcery to Gather Allies, 1844

This week is the ten year anniversary for Monster Brains, I've chosen to share a wide assortment of Kuniyoshi's incredible work to mark the occasion. Over the years Monster Brains has grown from a simple collection of links to a vast resource onto itself. This is due, in part, to my obsessive nature in collecting the artwork that I'm passionate about for myself but also my commitment to sharing this work with others that will appreciate it as well.

That said, I make my living as an artist and it has been growing more difficult to take the time away from my work to research and prepare posts for the site. You would probably be shocked to know the amount of time that I invest into many of the posts on Monster Brains. I've resisted putting advertisements on the site to take on additional revenue but recently I have placed a donation button on the site. If you appreciate Monster Brains and the work put into the thousands of artworks that I've shared over the past ten years, if you anticipate the hundreds of future posts that I have in various stages of planning, please donate whatever you can, it will be greatly appreciated.

The donation button can be found on the top right of Monster Brains.

Thank you! I look forward to many more years of discovering and sharing the more obscure and fascinating artists associated with the genre of monsters.



In the Ruined Palace at Sōma, Masakado's Daughter Takiyasha Uses Sorcery to Gather Allies, 1844 (left panel)

In the Ruined Palace at Sōma, Masakado's Daughter Takiyasha Uses Sorcery to Gather Allies 1844 (middle panel)

In the Ruined Palace at Sōma, Masakado's Daughter Takiyasha Uses Sorcery to Gather Allies, 1844 (right panel)

The Earth Spider Generates Monsters at the Mansion of Lord Minamoto Yorimitsu

The Earth Spider Generates Monsters at the Mansion of Lord Minamoto Yorimitsu (left panel)

The Earth Spider Generates Monsters at the Mansion of Lord Minamoto Yorimitsu (middle panel)

The Earth Spider Generates Monsters at the Mansion of Lord Minamoto Yorimitsu (right panel)

Raiko's retainers, Watanabe no Tonna, Sadanobu, and Kunitoki, playing go, with attempted interruptions by the Earth-Spider's demons. Edo Period

Raiko's retainers, Watanabe no Tonna, Sadanobu, and Kunitoki, playing go, with attempted interruptions by the Earth-Spider's demons. Edo Period (left panel)

Raiko's retainers, Watanabe no Tonna, Sadanobu, and Kunitoki, playing go, with attempted interruptions by the Earth-Spider's demons. Edo Period (middle panel)

Raiko's retainers, Watanabe no Tonna, Sadanobu, and Kunitoki, playing go, with attempted interruptions by the Earth-Spider's demons. Edo Period (right panel)

Raiko with giant spider, Watanabe no Tsuna playing go with Kintoki, Sadamitsu with Yoshimasa, 1829

Raiko with giant spider, Watanabe no Tsuna playing go with Kintoki, Sadamitsu with Yoshimasa, 1829 (left panel)

Raiko with giant spider, Watanabe no Tsuna playing go with Kintoki, Sadamitsu with Yoshimasa, 1829 (middle panel)

Raiko with giant spider, Watanabe no Tsuna playing go with Kintoki, Sadamitsu with Yoshimasa, 1829 (right panel)

Sojobo, King of the Tengu, and Yoshitsune leaping in the air, 1847-52

Sojobo, King of the Tengu, and Yoshitsune leaping in the air, 1847-52 (left panel)

Sojobo, King of the Tengu, and Yoshitsune leaping in the air, 1847-52 (middle panel)

Sojobo, King of the Tengu, and Yoshitsune leaping in the air, 1847-52 (right panel)

Shizu no ama otome Daishokan, 1847-48

Shizu no ama otome Daishokan, 1847-48 (left panel)

Shizu no ama otome Daishokan, 1847-48 (middle panel)

Shizu no ama otome Daishokan, 1847-48 (right panel)

Ushiwakamaru (Yoshitsune) Fighting Benkei with the Help of the Tengu, 1847-50

Ushiwakamaru (Yoshitsune) Fighting Benkei with the Help of the Tengu, 1847-50 (left panel)

Ushiwakamaru (Yoshitsune) Fighting Benkei with the Help of the Tengu, 1847-50 (middle panel)

Ushiwakamaru (Yoshitsune) Fighting Benkei with the Help of the Tengu, 1847-50 (right panel)

Various ghosts, devil-like figures, and the King of Hell lording over his domain, Edo Period

Various ghosts, devil-like figures, and the King of Hell lording over his domain, Edo Period (left panel)

Various ghosts, devil-like figures, and the King of Hell lording over his domain, Edo Period (middle panel)

Various ghosts, devil-like figures, and the King of Hell lording over his domain, Edo Period (right panel)

Raiko and his retainers entertaining the Shuten-doji and his demons with sake and dancing, 1853

Raiko and his retainers entertaining the Shuten-doji and his demons with sake and dancing, 1853 (left panel)

Raiko and his retainers entertaining the Shuten-doji and his demons with sake and dancing, 1853 (middle panel)

Raiko and his retainers entertaining the Shuten-doji and his demons with sake and dancing, 1853 (right panel)

Orikoshi Masatomo (centre) (played by Bando Hikosaburo IV) is attacked by the ghost of Asakura Togo, 1853

Orikoshi Masatomo (centre) (played by Bando Hikosaburo IV) is attacked by the ghost of Asakura Togo, 1853 (left panel)

Orikoshi Masatomo (centre) (played by Bando Hikosaburo IV) is attacked by the ghost of Asakura Togo, 1853 (middle panel)

Orikoshi Masatomo (centre) (played by Bando Hikosaburo IV) is attacked by the ghost of Asakura Togo, 1853 (right panel)

Minamoto no Yorimitsu fighting demon spider, with Usui no Sadamitsu, Watanabe no Tsuna, Urabe no Suetake with Sakata Kintoki with go-board. 18th C

Minamoto no Yorimitsu fighting demon spider, with Usui no Sadamitsu, Watanabe no Tsuna, Urabe no Suetake with Sakata Kintoki with go-board. 18th C (left panel)

Minamoto no Yorimitsu fighting demon spider, with Usui no Sadamitsu, Watanabe no Tsuna, Urabe no Suetake with Sakata Kintoki with go-board. 18th C (middle panel)

Minamoto no Yorimitsu fighting demon spider, with Usui no Sadamitsu, Watanabe no Tsuna, Urabe no Suetake with Sakata Kintoki with go-board. 18th C (right panel)

Raiko Oeyama iri no zu, 1853

Raiko Oeyama iri no zu, 1853 (left panel)

Raiko Oeyama iri no zu, 1853 (middle panel)

Raiko Oeyama iri no zu, 1853 (right panel)

Retired Emperor Sanuki Sends Allies to Rescue Tametomo, Edo Period

Retired Emperor Sanuki Sends Allies to Rescue Tametomo, Edo Period (left panel)

Retired Emperor Sanuki Sends Allies to Rescue Tametomo, Edo Period (middle panel)

Retired Emperor Sanuki Sends Allies to Rescue Tametomo, Edo Period (right panel)

Ushiwaka Kurama shugyo zu, 1858

Ushiwaka Kurama shugyo zu, 1858 (left panel)

Ushiwaka Kurama shugyo zu, 1858 (middle panel)

Ushiwaka Kurama shugyo zu, 1858 (right panel)

Minamoto no Yorimitsu no shitenno tsuchigumo taiji no zu, (The Earth Spider slain by Minamoto no Yorimitsu's retainers) 18th C

Minamoto no Yorimitsu no shitenno tsuchigumo taiji no zu, (The Earth Spider slain by Minamoto no Yorimitsu's retainers) 18th c (left panel)

Minamoto no Yorimitsu no shitenno tsuchigumo taiji no zu, (The Earth Spider slain by Minamoto no Yorimitsu's retainers) 18th c (middle panel)

Minamoto no Yorimitsu no shitenno tsuchigumo taiji no zu, (The Earth Spider slain by Minamoto no Yorimitsu's retainers) 18th c (right panel)

The Taira ghosts arising from the sea (left) to attack Yoshitsune's ship (centre), with some warriors in the water, 19th C

The Taira ghosts arising from the sea (left) to attack Yoshitsune's ship (centre), with some warriors in the water, 19th C (left panel)

The Taira ghosts arising from the sea (left) to attack Yoshitsune's ship (centre), with some warriors in the water, 19th C (middle panel)

The Taira ghosts arising from the sea (left) to attack Yoshitsune's ship (centre), with some warriors in the water, 19th C (right panel)

The Nine-tailed Fox slain on Nasu moor, Shimotsuke, 1834

The Nine-tailed Fox slain on Nasu moor, Shimotsuke, 1834 (left panel)

The Nine-tailed Fox slain on Nasu moor, Shimotsuke, 1834 (middle panel)

The Nine-tailed Fox slain on Nasu moor, Shimotsuke, 1834 (right panel)

Tawara Toda Hidesato escorted through the waves on the back of a giant turtle by the Dragon King's fishy retainers, having received the Three Gifts, 1858

Tawara Toda Hidesato escorted through the waves on the back of a giant turtle by the Dragon King's fishy retainers, having received the Three Gifts. 1858 (left panel)

Tawara Toda Hidesato escorted through the waves on the back of a giant turtle by the Dragon King's fishy retainers, having received the Three Gifts. 1858 (middle panel)

Tawara Toda Hidesato escorted through the waves on the back of a giant turtle by the Dragon King's fishy retainers, having received the Three Gifts. 1858 (right panel)

Ki-ki myo-myo (Strange and Marvelous Turtles of Happiness) 1847-52

Ki-ki myo-myo (Strange and Marvelous Turtles of Happiness) 1847-52 (left panel)

Ki-ki myo-myo (Strange and Marvelous Turtles of Happiness) 1847-52 (middle panel)

Ki-ki myo-myo (Strange and Marvelous Turtles of Happiness) 1847-52 (right panel)

The Ghost of Akugenta Taking Revenge on Nanba at the Nunobiki Waterfall, 1856

Picture of The Sea Bed at Daimotsu Bay, 19th C

Minamoto no Yorimasa slaying the monster Nue, 19th C

The Ghost of Akugenda Yoshihira Striking Down his Killer, 19th C

Asaina Saburo Yoshihide Wrestling Two Crocodiles at Kotsubo Beach, 19th C

Yegara Heita Tanenaga Cuts his Way Out of a Giant Python, 19th C

Revenge of the Taira Warriors, 1843-47

Recovering the Stolen Jewel from the Palace of the Dragon King 1853

Three Brave Warriors of Our Country, 1852

A group of tengu rescue Minamoto no Tametomo and his men as their ship is wrecked in a storm whipped up by a flying dragon in the seas of Higo near Minamata, 19th C

Minamoto no Yorimitsu and his Retainers Attacking the Drunken Monster Shuten-doji, 19th C

"The vogue for full-body tattoos of interlaced characters, animals and fish, the full arms and backs that writhe with complex figures and designs can be directly traced not only in their drawing but in their conception to the Japanese woodblock artist Utagawa Kuniyoshi. It was he, whilst trying to establish a flagging career in the 1820’s in Edo (Tokyo) Japan, that conceived of decorating heroic, supernatural warriors with florid designs to emphasise their toughness and in some part to elaborate on their narrative.

Kuniyoshi was born Yoshisaburo and like Kunisada was apprenticed to the great woodblock artist Toyokuni I at his Utagawa School 1811. Kuniyoshi showed prodigious talent but unlike his colleague Kunisada failed to find commissions and it was not until the late1820’s that he discovered his own style and overnight success with the release of his series of warrior prints Tūszoku Suikoden gōketsu hyakuhachinin no hitori  - The 108 Heroes of the Popular Suikoden (1827). The novelty of these extraordinary, richly embellished and colourful single sheet prints made him successful and went on to heavily influence Japanese fashion and culture.

Kuniyoshi was quick to eclipse his rival Kunisada, at least artistically, and established his own workshop producing some of the finest and most inventive designs in the whole of Japanese art. His was an art of vigour, texture, decoration and mystery. Kuniyoshi not only established the mythological and the warrior print as a major genre, he went on to cover the vogue for portraits of beautiful women, animals, caricature and actor prints. He developed the triptych format of ukiyo print whereby a single element such as a gigantic fish or grappling warriors spill out of one sheet and into the other holding and sometimes bursting out of the cinematic format in distinction to the the previous static use of the form.

Not only one of the finest artists and designers that Japan has produced, Kuniyoshi was also highly intelligent, revelling in the elaborate construction of mitate-e or satire prints where the meaning of the subject is obscured or only alluded to by signs and symbols. This was necessary during the period of severe censorship known as the Tempo Reforms of 1841 - 1843 which halted the production of many woodblock artists." - quote source

More details on the life of Kuniyoshi can be found at Wikipedia.

Sources for the artworks include The Metropolitan Museum of Art, The British  Museum and the ukiyo-e archive.

A large selection of Utagawa Kuniyoshi's single panels and diptychs can be found in this previous post.