Popular museum-like show “NEO – EDO : Kunichika Toyohara” – a celebration of excellent exhibition directing @ AOYAMA | MEGURO 優れたディレクションの実践を讃える人気の美術館的展覧会「ネオ江戸：豊原国周」@ 青山｜目黒

Visitor @ Aoyama Meguro “NEO – EDO Kunichika Toyohara” — Cool visitor @ AOYAMA | MEGURO "NEO – EDO: Kunichika Toyohara"

伯林〜江戸. Berlin-Tokyo.
Kunichika Toyohara 豊原国周 (1835-1900), the last great Master in Ukiyo-e 浮世絵 tradition, loved colouring with “Berliner Blau” (Prussian Blue 紺青). Strong reds and dark purples were made of aniline dyes imported in the Meiji era 明治時代 (1868-1912) from Germany manifested his grandeur as a highly sophisticated, extremely popular Japanese woodblock print artist.

Book with a collection of ukiyo-e prints by Kunichika (Meiji era)

The saturated blues, purples and reds captivate us with their beautiful bright intensities, serving the purpose of signifying elegance and fashionable Japanese modernity.

The play Okige no kumo harau asa gochi March, 1878 — The play “Okige no Kumo Harau Asagochi” (The Morning East Wind Clearing the Clouds of the Southwest) March 1878 西南雲晴朝東風明治11年

This triptych illustrates a new type of play in the Meiji period, historical dramas (katsureki), which were promoted by Danjuro IX. Illustrated here is the Seinan rebellion against the Meiji government, which occurred in 1877.

The play Okige no kumo harau asa gochi March, 1878, detail — “Okige no Kumo Harau Asagochi” March 1878, detail

Close Inspection of Actors Suguoroku Game 慶応 2 年 (1866) 60.1×73.1 cm, detail — Close Inspection of Actors Suguoroku Game 呼子鳥細見双六慶応2年 (1866) 60.1 × 73.1 cm, detail

During lifetime Kunichika received an official commission by the Japanese government to contribute ten pictures to the 1867 World Exhibition in Paris, later he also participated at the Chicago World’s Fair 1893.

In the backstage mirror w: At Sumida River (Shunga) , detail — “In the Backstage Mirror” with “At Sumida River” 花競楽屋鏡、隅田川 (Shunga), detail

In the backstage mirror w: At Sumida River (Shunga) — “In the Backstage Mirror” with “At Sumida River” 花競楽屋鏡、隅田川 (Shunga)

With his expressive portrayals of personalities, not only Kabuki 歌舞伎 actors, he was considered the “Sharaku 写楽 of the Meiji era”.

Yotsuya Kaidan Triptych with Ghost of Oiwa 1884, detail_1 — “Yotsuya Kaidan Triptych with Ghost of Oiwa” 1884, 形見草四谷怪談明治17年, detail_1

Yotsuya Kaidan Triptych with Ghost of Oiwa 1884, detail_2 — “Yotsuya Kaidan Triptych with Ghost of Oiwa” 1884, 形見草四谷怪談明治17年, detail_2

Yotsuya Kaidan Triptych with Ghost of Oiwa 1884 — “Yotsuya Kaidan Triptych with Ghost of Oiwa” 1884, 形見草四谷怪談明治17年

Additionally, his triptych prints with wide, horizontal formats capture Kabuki performers in dynamic poses, almost as if foretelling the cinematic techniques that would emerge later.

Chikayoshi Toyohara, Kabuki Theatre, Chushingura, Actors in One Role 1878, detail_1 — “Chikayoshi Toyohara, Kabuki Theatre, Chushingura, Actors in One Role” 1878 豊原周義「塩冶判官と大星由良之助」　大判錦絵2枚続（仕掛絵）明治11年, detail_1

Chikayoshi Toyohara, Kabuki Theatre, Chushingura, Actors in One Role 1878, detail_2 — “Chikayoshi Toyohara, Kabuki Theatre, Chushingura, Actors in One Role” 1878 豊原周義「塩冶判官と大星由良之助」　大判錦絵2枚続（仕掛絵）明治11年, detail_2

Chikayoshi Toyohara, Kabuki Theatre, Chushingura, Actors in One Role 1878 — “Chikayoshi Toyohara, Kabuki Theatre, Chushingura, Actors in One Role” 1878 豊原周義「塩冶判官と大星由良之助」　大判錦絵2枚続（仕掛絵）明治11年

We might conclude that film director Akira Kurosawa 黒澤明, who was an excellent painter (see his storyboards 絵コンテ), had been influenced by Kunichika. (Implies a lineage towards “Star Wars” by George Lucas.)

明治座新狂言蔦模様血染御書 1899, detail — New Plays of the Meiji-za – Ichikawa Sadanji I as Okawa Tomoeman 1899 明治座新狂言蔦模様血染御書明治31年, detail

明治座新狂言蔦模様血染御書 1899 — New Plays of the Meiji-za – Ichikawa Sadanji I as Okawa Tomoeman 1899 明治座新狂言蔦模様血染御書明治31年

明治座新狂言焼討之場 1894, detail — New Plays of the Meiji-za -Ichikawa Sadanji I as Akiyama Kii no kami Amidst a Conflagration 1894 明治座新狂言焼討之場明治26年, detail

明治座新狂言焼討之場 1894 — New Plays of the Meiji-za -Ichikawa Sadanji I as Akiyama Kii no kami Amidst a Conflagration 1894 明治座新狂言焼討之場明治26年

九紋龍史進・花和尚魯智深 Ichikawa Sadanji as Hanaoshō Ro Chishin and Ichikawa Danjūrō as Kumonryū Shishin 1886 — “Ichikawa Sadanji as Hanaoshō Ro Chishin and Ichikawa Danjūrō as Kumonryū Shishin” 1886 九紋龍史進・花和尚魯智深明治20年

見立奇術競 1885 — “Jiraiya Triptych with Tattooed Magician and Waterfall” 1885 見立奇術競明治19年

Furthermore, Kunichika’s “Backstage prints” (楽屋絵 Gakuya-e) depict the backstage lives of Kabuki actors with remarkable realism, offering a perspective akin to today’s fan club culture, or “Oshi-katsu” 推し活, that resonated deeply with the public. These innovations elevated Ukiyo-e to a new artistic dimension.

Jiganji Mountain Stone Platform Place, 1896, detail — “Jiganji Mountain Stone Platform Place” 1896 慈眼寺山石壇之場明治28年, detail

Jiganji Mountain Stone Platform Place, 1896 — “Jiganji Mountain Stone Platform Place” 1896 慈眼寺山石壇之場明治28年

Kunichika’s approach, blending a nostalgic aesthetic with the technological advancements of his time (such as advanced carving and printing techniques), can be described as pioneering “Retro-Pop”.
Exactly with this kind of “Retro-Pop” in mind, the formula for the gallery’s exhibition directing can be experienced at the still running show called “NEO-EDO: Kunichika Toyohara”. Excellently displayed, full of surprises and with hints towards the VERY Contemporary.

Doodles on the wall, 1867, detail_1 — Doodles on the Wall, 1867 壁のむだ書いろいろ慶応3, detail_1

The important art-historical character of this extraordinary exhibition is also reflected in the selection of works with reference to modern and contemporary art movements.
The connoisseur understands the influence of Kunichika and the Ukiyo-e genre in Japonism, which in turn is in direct lineage to the Vienna School, Art Nouveau, Art Deco and Expressionism. It is now very important to emphasise that Kunichika has been the pioneer of Pop-Art throughout his artistic practices. The immense popularity of his works transfers the Ukiyo-e genre into the context of Pop-Art.
Pop-Ukiyo-e = Pre-Pop-Art.

Not only that. The art historical jump into the Manga 漫画 and Anime アニメ genres is a small one. In this sense, the direct lineage “Kunichika-Ukiyo-e” declares itself to be embodied by the “Manga-Anime” world.
Furthermore, Kunichika’s aesthetic suggests a subtle dynamic that, intentionally or not, leads directly to the “Visual-kei” ヴィジュアル系 or “Glam rock” グラムロック performances.
As a conclusion we might now proclaim that Kunichika was a precursor to various modern artistic movements.

Doodles on the wall, 1867, detail_3 — Doodles on the Wall, 1867 壁のむだ書いろいろ慶応3, detail_2

Doodles on the wall, 1867 — Doodles on the Wall, 1867 壁のむだ書いろいろ慶応3

In addition to the feast for the eyes, the allegories of the Condizione Umana, even in universal terms, also come to light, whereby of course Japanese cultural history was sometimes recontextualized by Kunichika in a very succinct, pointed and witty way.
Let’s get to the point: This museum-like exhibition at AOYAMA | MEGURO is an absolute must!

Reiwa 令和 7, Feb. 12
Mario A 亜真里男

ネオ江戸 : 豊原国周 @ 青山｜目黒
NEO – EDO : Kunichika Toyohara @ AOYAMA | MEGURO
25 Jan 2025 – 24 Feb 2025
http://aoyamameguro.com/website/kunichika-toyohara/
http://aoyamameguro.com/en/website/kunichika-toyohara/