![]() The importance of these tree-dwelling kami was established in the Kojiki (Record of Ancient Matters), where the legend is told of the founding sibling gods of Japan Izanagi and Izanami. Specific trees such as the Chinese bunyan tree or the Indian laurel were said to be favored by these kami. On the 9th of June 1892, he died of a cerebral hemorrhage at the age of 53.From ancient times in Japan, certain types of trees were thought to be abodes for kami, the spiritual deities of Japan’s native animistic religion. In the spring of 1892, he suffered his final mental breakdown and was committed to the Sugamo Asylum. During the last decade of his life, Yoshitoshi designed numerous illustrated books and several other popular series including Thirty-two Aspects of Women (1888) and Thirty-six Ghosts and Strange Apparitions. In 1885, he began one of his most acclaimed series, One Hundred Views of the Moon (1885-1892). While Yoshitoshi continued to present battle scenes, he turned his attention to more recent incidents and slowly shifted from overt violence to the psychological struggles of individuals. A year later, he resumed work adopting the artist name Taiso, meaning "Great Resurrection," and fulfilling his creative potential. As political instability grew in Japan during the late 1860s, he entered his "bloody period," an era marked by images of graphic violence and extravagant brutality.Īs Meiji-period modernization pushed ahead, Yoshitoshi Tsukioka suffered a nervous breakdown in 1872, living in poverty and ceasing all artistic production. Following Kuniyoshi's death in 1861, Yoshitoshi struggled as he set off on his own, taking Toshikage as his first student in 1863. Yoshitoshi learned to use these colors with subtlety and skill, holding his works to the highest printing standards throughout his career. As the 19th century progressed, ukiyo-e felt the influence of the modern era, particularly through the introduction of synthetic dyes. In the early 1860s, Yoshitoshi's prints focused on kabuki subjects and historical scenes, as well as foreigners. That same year, Commodore Perry's "black ships" docked in Edo Bay. Yoshitoshi Tsukioka published his first print to modest success in 1853, a triptych of a famous clash between the Taira and Minamoto clans. Kuniyoshi, a leading woodblock print artist of the day, developed a close relationship with his pupil and gave him the name Yoshitoshi. He began to study under the renowned Kuniyoshi at the age of 11. ![]() As a young boy, he showed remarkable artistic talent and fierce interest in classical Japanese literature and history. Yoshitoshi was born in Edo on April 30th, 1839. From ghost stories to folktales, violent clashes to the gentle glow of the moon, Yoshitoshi offers not only compositional and technical brilliance, but also unfettered passion. His powerful imagination and originality imbued his prints with a sensitivity and honesty rarely seen in ukiyo-e of this time period. ![]() ![]() Yoshitoshi worked in a Japan undergoing rapid change, straddling the domains of the old, feudal system of the Edo period and the new, modern world of the Meiji period. Considered one of the last great masters of ukiyo-e, Yoshitoshi Tsukioka's woodblock prints are known for their eerie and imaginative nature. ![]()
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