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yoshitoshi.bsky.social

@yoshitoshi.bsky.social

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Fan account for Tsukioka Yoshitoshi, widely recognized as the last great master of the ukiyo-e genre of woodblock printing and painting. 1839-1892 Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 1h

Yamamoto Kansuke Killing a Wild Boar collections.artsmia.org/art/127837

three sheets; cartoonish animal with long grey fur, large yellow eye, yellow teeth with long fangs and blue hooves at center, throwing off man men who are falling and flipping in every directions; men in URQ wear yellow furs (?); mountains in background covered in snow; snow in foreground, with snowballs flying in front of animal and figures

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 3h

Number Two collections.artsmia.org/art/127916

portrait of frowning man in rectangle in LLC, with red lips, head turned slightly toward, PR; man has PR hand on sword handle; wearing purple kimono with white flowers inside circles; grey ground; rectangular block of text at left with pastel shaded ground; one green and three red seals

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 4h

Looking Disagreeable - The Appearance of a Young Lady from Nagoya During the Ansei era www.wikiart.org/en/tsukioka-yoshito…

Looking Disagreeable - The Appearance of a Young Lady from Nagoya During the Ansei era

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 8h

By Request, Picture of Fujiwara Yasumasa Playing the Flute by Moonlight, a Painting Shown at the Exhibition for the Advancement of Painting in Autumn 1882 collections.artsmia.org/art/127880

three separate sheets; man wearing orange kimono with white flowers, light blue pants and black hat at center, playing a black and red flute; crouching an wearing blue, green and black, reaching for his sword, at right; silhouettes of grasses blowing in wind behind figures; orange moon at left; grey clouds
For the Competitive Painting Exhibition (Kaiga Kyōshinkai) held in October 1882 in Tokyo, Yoshitoshi painted a hanging scroll of the flute player story. The painting must have been very well received, because soon after the exhibition the publisher Akiyama Buemon urged Yoshitoshi to create a print version of it, which since then has become his iconic masterpiece. Yoshitoshi had to adapt the composition from a vertical to a horizontal format. In the painting, the thief stands directly behind Yasumasa and both are illuminated by the moon from above. For the panoramic view of the triptych, Yoshitoshi spread the reeds over all three panels, moved the moon to the far left and the thief to the right, next to Yasumasa.

yoshitoshi.bsky.social @yoshitoshi.bsky.social · 22h

Hōgyūsha Tōrin; Wakashima Gon’emon collections.artsmia.org/art/127820

one sheet; diving man holding a yellow cord in his mouth, attached to a thick twisted or braided dark rope or cord; long fronds of seaweed in LLQ
Text by Kanagaki Robun.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 15/10/2026

Kurahashi Densuke Kiyohara Takeyuki www.metmuseum.org/art/collection/se…

Bequest of William S. Lieberman, 2005

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 15/10/2026

A monkey jumps into a waterfall collections.artsmia.org/art/127781

monkey with arms spread and mouth open, falling off a cliff in front of a waterfall; group of monkeys on top of cliff in URC look on
The Monkey King Sun Wukong (Son Gokū in Japanese) is one of the main characters in the 16th-century Chinese novel The Journey to the West, or Xiyouji. Born from a divine stone egg, he is endowed with intelligence and magical powers. In search of spiritual understanding, he sets off on a journey but is imprisoned for bringing havoc to the Celestial Palace of the Jade Emperor. Eventually he is released to accompany the Chinese Buddhist monk Xuanzang on his journey west to India. This print shows a group of monkeys observing a waterfall. The bravest monkey jumps through the waterfall to discover its source and is later crowned the Monkey King.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 15/10/2026

Abekawa kochi no adanami, no. 2 collections.artsmia.org/art/127917

portrait of frowning man in rectangle in LRC, with brown lips, blue shading under jaw line and pink shading around eyes; man looks toward PR; man wears purple kimono with white geometric and leaf designs; grey ground; rectangular block of text at left with diagonal purple and red elements; red and green seals in URC and LLC

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 15/10/2026

Appearing Graceful, Behavior of a High-Ranking Prostitute of the Tenpō Era collections.artsmia.org/art/127933

woman slightly turned to PR, with elaborate gold hair ornaments with floral motifs, wearing kimono with bold patterns, with bold red and yellow stripes on PL shoulder, bold hexagon and flower pattern in green, white, yellow, red and blue, and black with yellow and blue bamboo leaves on PR shoulder
No. 10 on the table of contents

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 14/10/2026

Left: Kurikara Kengorō; right: Hohodemi-no-mikoto collections.artsmia.org/art/127801

two image on one sheet, configured horizontally; left image: man wearing grey, brown and green striped kimono with blue trim and red and black undergarment, holding a green tube-like object, with a flaming scowling figure with blue skin and grey hair behind him; right image: man wearing green kimono with yellow and white bird designs, lined in red, riding through waves on a giant fish, with a fishing pole held over his head
Uncut ōban print containing two chūban prints.

yoshitoshi.bsky.social @yoshitoshi.bsky.social · 14/10/2026

The Actor Kawarazaki Gonjuro I, from the series "Reminiscences of Elegant Actors (Fuga wazaogi shinobu)" www.artic.edu/artworks/103314

Restricted gift of Dr. and Mrs. Edwin J. De Costa

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 14/10/2026

Picture of the Ryōgoku Bridge in Tokyo collections.artsmia.org/art/127859

three separate sheets; long blue, black and white bridge over water; pink fireworks in sky, center and left; horses, carts, buggies and people on bridge, in predominately red and purple garments; many boats on water; boat in LLQ has red lanterns with black characters

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 14/10/2026

Kō Musashi-no-kami Moronao collections.artsmia.org/art/127976

drawing in black ink with touches of pinkish-brown on face; frowining man with open mouth, grabbing at sword handle held by unseen figure at left; mounted to backing sheet
This drawing was likely meant to be part of a series of half-length portraits of famous men. The several that survive are all the same size and contained within a frame; they all carry the same signature. Yet Yoshitoshi either was not able to find a publisher to take on this project, or the publisher he did work with decided against a production, since no published prints of this series are known. This portrait shows Kō Moronao (d. 1351), who was deputy to the first shogun of the Ashikaga, Takauji (1305–1358), and in that role had a reputation of being a villain.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 14/10/2026

Ichikawa Danjūrō IX as Musashibō Benkei in The Subscription List (Kanjinchō) www.harvardartmuseums.org/collectio…

Harvard Art Museums/Arthur M. Sackler Museum, Philip Hofer Fund for the Purchase of Asian Art

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 13/10/2026

Nihon ryakushi www.wikiart.org/en/tsukioka-yoshito…

Nihon ryakushi

yoshitoshi.bsky.social @yoshitoshi.bsky.social · 13/10/2026

Appearing Inquisitive, Behavior of a Maid of the Tenpō Era collections.artsmia.org/art/127937

woman peering out from between two slatted doors; woman wears pink kimono with twining pink morning glories with green stems and leaves, with white collar and red cuffs
According to the title, this portrait refers to the Tenpō era (1830–44), and the woman is an okoshō, a maid in the service of a samurai family. She would have been sent there to learn good manners as part of her education. Ironically, Yoshitoshi captured her peering through slatted bamboo doors as if she were spying, perhaps on members of the family she serves. The black-on-black peony pattern of her sash (obi) was achieved through a polishing technique called shōmen-zuri, in which the block with the pattern was placed behind the paper, and then the surface was rubbed with a hard polisher, such as porcelain.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 13/10/2026

Looking weighed-down - The appearance of a waitress at Fukagawa in the Tempo era www.wikiart.org/en/tsukioka-yoshito…

Looking weighed-down - The appearance of a waitress at Fukagawa in the Tempo era

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 13/10/2026

Great Generals of the East and West collections.artsmia.org/art/123452

left scroll of a pair; three men (clockwise from top center): Japanese man wearing partial suit of armor and helmet, seated on floor, holding a black fan and wearing a garment on his upper body with green sleeves; Asian man in LRC wearing a bright blue robe with white organic medallions and white belt, black cloth wrapped around his hair and white headband, holding a folded white fan and seated on floor; European man with red hair and thick red beard at left wearing a long red uniform jacket with brass buttons and epaulettes, and white baggy pants, seated in an orange chair; four bold lines of text in black at top around figures; large square red seal above PR shoulder of European man
One of the largest paintings by Yoshitoshi, this is also one of the most mysterious. The six people from right to left are the warlord and unifier of Japan Toyotomi Hideyoshi (1537–1598), as a child with dog; the first shogun of the Edo period (1603–1868), Tokugawa Ieyasu (1543–1616); the first president of the United States, George Washington (1732–1799), as a drummer boy during the American Civil War; the feudal lord Mōri Motonari (1497–1571); Date Masamune (1579–1636), the Lord of Sendai; and the emperor of France Napoleon III (1808–1873). The signature indicates that this painting was commissioned, and the signature style puts the date at around 1874. Napoleon III’s death in 1873 might have been the stimulus. But the meaning of this painting, including such puzzling elements as the boiling kettle, remains unclear. Yoshitoshi’s humongous seal on the left includes a line from the “Eight Immortals of the Wine Cup,” a poem attributed to the Chinese poet Du Fu (712–770): his brush produces cloud and mist (Chin. huihao luo zhi ru yunyan).

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 13/10/2026

Autumn Moon at Tōin: Hirai Inaba-no-kami Yasumasa and the Thief Hakamadare Yasusuke collections.artsmia.org/art/127817

three separate sheets; landscape with purple, red and yellow flowers around a stream; man wearing black cap and kimono with gold birds on tan and green ground, playing a black flute, at center; crouching man at right holding a sword, wearing a purple kimono with yellow and blue flowers
This print is part of a series of eight triptychs that was produced from 1867 to 1868 showcasing famous warrior stories. Each story is juxtaposed to the theme of the Eight Views, a concept derived from the popular subject of Chinese landscape paintings of the Eight Views of the Confluence of the Xiao and Xiang rivers (Shōshō hakkei). One of these views praises the autumn moon, which has been integrated here in the upper left. Another artist, Katsukawa Shuntei III, provided the background for this print.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 12/10/2026

A print depicting Sakanoue no Tamuraro, commanding in the middle of battle www.wikiart.org/en/tsukioka-yoshito…

A print depicting Sakanoue no Tamuraro, commanding in the middle of battle

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 12/10/2026

The Battle at Jinju during Masakiyo's Conquest of Korea (Masakiyo Sankan taiji, Shinshujo kassen no zu) www.artic.edu/artworks/103333

Nathalie Gookin Fund

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 12/10/2026

Picture of the Lonely House at Adachigahara in Ōshū collections.artsmia.org/art/127893

two sheets configured vertically; topless wrinkled old woman seated at bottom, sharpening a knife, looking up at a heavily pregnant topless woman with long hair wearing a red skirt, tied by her ankles, hanging upside down from a ceiling rafter
A heavily pregnant woman is bound and gagged, strung upside-down from the ceiling in an old hut. Below, a wizened old woman sharpens her knife, ready to cut open the woman’s belly. The gruesome story depicted here begins as a quest to cure a sick child. The child’s mother, a princess, sends a wet nurse to find the liver of a newborn baby, the main ingredient required for the cure for the infant’s sickness. Unable to find a mother willing to sacrifice her child, the wet nurse decides to hide in a cave and wait for a pregnant woman to pass by. When one does, the wet nurse abducts her and kills her during her labor, realizing only too late that it was her own pregnant daughter. The horrendous deed drives the woman insane, and she turns into a demon, forever haunting the moor in search of human flesh.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 12/10/2026

The Story of Otomi and Yosaburō collections.artsmia.org/art/127905

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 12/10/2026

Actor Nakamura Shikan IV collections.artsmia.org/art/127760

male figure with head to R in triangular cartouche, framed with wreath; yellow glass wind chime with paper hanging from wreath; bamboo in lower background; white robe with dark blue swirls

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 11/10/2026

Twelfth Act collections.artsmia.org/art/127753

two standing men at center; both men wear outer garments in bold black and white triangle print with purple blouses; man at left wears pink flowered pants; man at right wears yellow and green flowered pants; two seated men in LLC--man wearing similar black and white garment holding a white and yellow cylindrical object, and bald man seen from back wearing orange; water in background with boats; snow-covered ground and trees around figures
Actors Kitaoka Nizaemon VIII as Ōboshi Yuranosuke (R) and Kataoka Gadō II as Ōboshi Rikiya (L). Related to the play Kanadehon Chūshingura 仮名手本忠臣蔵, performed at the Nakamura Theater in the 4th month of 1860.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 11/10/2026

The Great Battle of the Ane River in the Chronicle of the Great Peace collections.artsmia.org/art/127814

soldiers in predominately red and purple tunics and blue pants, with rifles, at left; two fallen men with bugles; man at center in red tunic with blue sleeves aiming rifle at jumping man with spear in red and blue at right; grey and blue smoke clouds

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 11/10/2026

Evening Dew: Actor Ichikawa Danjūrō IX as Saitō Kuranosuke Toshimitsu collections.artsmia.org/art/127867

portrait of a figure with a plant fiber mat wrapped around body, wearing a green patterned kimono with a white cloth with blue dots tied around head; moon in LRQ

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 11/10/2026

Appearing Warm, Behavior of an Urban Widow of the Kansei Era collections.artsmia.org/art/127927

woman reading a book, propped against object covered in green fabric with multicolored floral fan patterns, with a black and white cat lying on top of it; woman wears a gray and blue kimono with black collar, with floral rondels, with collar of blue with white flower and bird pattern and red undergarment
On a cold winter day, a lonely widow is tucked under a heavy kimono, seeking warmth from a kotatsu, a low, wooden table covered by a blanket with a charcoal brazier underneath. Unique to Japan, this source of heating is still used today, albeit the heat source is now electric. The widow is absorbed in a novel and about to turn a page. Her cat lies next to her on top of the kotatsu, enjoying the warmth as well. The time period this portrait refers to is the Kansei era (1789–1801), when married women had their eyebrows shaved off as a sign of dedication to their husbands.

yoshitoshi.bsky.social @yoshitoshi.bsky.social · 11/10/2026

Akechi Samanosuke collections.artsmia.org/art/127830

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 10/10/2026

Preparatory drawing of High Priest Kōmyō collections.artsmia.org/art/127854

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 10/10/2026

Appearing Thirsty, Behavior of a Street Geisha Populary Called Bar Girl of the Ansei Era collections.artsmia.org/art/127946

woman looking up over her PL shoulder, holding a cup with yellow liquid in her PR hand; woman wears a brown and khaki kimono with square pattern, with black collar and red undergarment with purple collar; green and white obi; yellow stand with burning candle at left
No. 22 on the table of contents

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 10/10/2026

Danshichi Kurobei collections.artsmia.org/art/127808

one sheet; man seen from back wearing a red loincloth, with blue and red tattoos over back, upper arms, buttocks and thighs, fighting a demon in a mud pit, with blood on his legs and arms, holding a sword in his PR hand; crouching demon in mud, looking up at sword above his head
Danshichi Kurobei had been imprisoned for injuring a man who then died, although from a different cause. He was released with the help of Lord Tamashima but exiled from his hometown. Later, Kurobei’s cruel and greedy father-in-law, Mikawaya Giheiji, kidnapped the mistress of Lord Tamashima’s son and demanded a ransom for her release, but Kurobei managed to intervene and free her. Giheiji was outraged since he had supported Kurobei’s wife and child while the younger man was in prison and now demanded payment. When Kurobei was unable to make good on his debt, Giheiji began beating him with his sandal. A fight broke out, and eventually Kurobei lost his temper. He stripped off his clothes down to his red loincloth and killed Giheiji, in the mud, while begging for forgiveness for what he was doing. The struggle between the two men became perhaps the most dramatic murder scene in Kabuki theater and a popular motif in prints. Yoshitoshi captured it in its full cruelty, with Kurobei’s arms and sword drenched in blood while the dying Giheiji is barely visible in the mud.

yoshitoshi.bsky.social @yoshitoshi.bsky.social · 10/10/2026

Picture of Kiyo-hime Assuming a Serpent Form at Hidaka River collections.artsmia.org/art/127966

standing woman, slightly leaning forward, at the edge of water with small waves behind her and moon in sky, holding her loose hair in each hand in front of her shoulders; woman wears garment which is predominately patterned with purple and white triangles and starbursts in blue, green and gold, with red undergarment

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 10/10/2026

Takaragi collections.artsmia.org/art/127777

portrait of a woman holding a tan bookmark-like object in front of her chest in her PR hand, with a large round hole in right side with a pair of red tassels hanging from it, and a book with a purple cover in her PL hand; woman wears dark blue kimono with light blue circular pattern, with red striped collar; woman's hair ornaments have bird and leaf designs; very large, slightly abstracted purple flowers with leaves and stems in two shades of green behind woman
Figure by Kawanabe Kyōsai.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 09/10/2026

Ōshima Tanzō collections.artsmia.org/art/127800

man kneeling on PL knee, with PR leg outstretched to side, holding a gold disc behind his head with both hands; man wears red headband and blue and white armor with black fringe at bottom, with a garment with large blue flowers of red ground tired around his waist; clouds of salmon colored smoke coming from black braiser at left behind man

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 09/10/2026

Ghost collections.artsmia.org/art/117173

image of a ghostly woman wearing loose, flowing kimono; blue eyes glancing outward; open mouth; grey tones except for blue eyes
Yoshitoshi was one of the last masters of ukiyo-e in the Meiji period. A pupil of Utagawa Kuniyoshi (1797–1861), he also studied with Kikuchi Yōsai (1788–1878), a master of historical painting. Yoshitoshi merged the ukiyo-e style with Western realism to produce a new form of print for the modern audience. His historical and heroic prints were often bizarre and ghoulish. Here, only the eyes of the ghost shine ominously in pale blue.

yoshitoshi.bsky.social @yoshitoshi.bsky.social · 09/10/2026

Actors Bandō Hikosaburō V as Oda Harunaga (R), Sawamura Tosshō II as Mori Ranmaru (C), and Kataoka Gadō as Koretō Mitsuhide (L) collections.artsmia.org/art/127765

detached triptych: three male figures on wooden decking with white curtain in background; man at L, in blue with white flowers, sits and looks to L; figure at C holds black fan up over head with PR hand, and holds out sword with PL; man at far R points at C man while holding closed white fan
Related to the play Tokiwa ima yakko ukejō 時皞握虎券, performed at the Nakamura Theatre in the 8th month of 1862.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 09/10/2026

Oroku collections.artsmia.org/art/127778

portrait of a woman looking toward left, with full cheeks; woman wears purple kimono with white floral circles and red circle patterned collar with yellow undergarment visible at bottom edge of image; woman's hair ornaments have blue flowers and gold tassels; very large, slightly abstracted purple flowers with leaves and stems in two shades of green behind woman
Figure by Kawanabe Kyōsai.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 09/10/2026

Study of a warrior wielding his sword collections.artsmia.org/art/127980

drawing in black ink with touches of red; grimacing bald man wearing a short kimono, bending slightly down with feet wide apart, with sword held down; study of second head on PR foot of figure; two bundles at bottom, LLQ; lantern, URQ; some linear sketches (drapery?) on verso; unsigned
This sheet of paper gives us a peek at Yoshitoshi’s design process. It contains several unrelated elements: At center, a warrior grasps his sword, while above a wind blows out a candle and ruffles a curtain. Below are two bound packages, also unconnected to the other elements. The warrior might be an early idea for the nearby triptych of Taira Koremochi Ason. Neither the red nor the black ink can be erased, so Yoshitoshi attached a small piece of paper at the warrior’s head to provide a clean surface for a new drawing.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 08/10/2026

Looking hot - The appearance of a housewife in the Bunsei era www.wikiart.org/en/tsukioka-yoshito…

Looking hot - The appearance of a housewife in the Bunsei era

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 08/10/2026

Miyamoto Musashi and the Exorcism of the Evil Fox of Princess Osakabe collections.artsmia.org/art/127771

unassembled triptych: female figure in voluminous pants and sashes standing on platforms at L, looking down over subjects, emitting white beams from head; female figures in white and red with animal-like faces stand within beams in room below; male figure on stairs at C looks alert, PL hand on sword
Miyamoto Musashi (C) and the evil fox Princess Osakabe 宮本無三四, 於佐壁之悪狐.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 08/10/2026

Looking as if she wants to change - The appearance of a proprietress of the Kaei era www.wikiart.org/en/tsukioka-yoshito…

Looking as if she wants to change - The appearance of a proprietress of the Kaei era

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 08/10/2026

Famous places in Tokyo, Takanawa: Picture of . Complete picture of a steam locomotive and railroad collections.artsmia.org/art/127839

three separate sheets; miniature railroad with women and men in European dress inside car behind locomotive; women and men in LRC; couple at left beneath a walkway, with a view of boats and water behind them; yellow, brown and blue brick wall in middle ground, with figures in Asian dress and horses walking and standing by railings along top of colorful brick wall

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 07/10/2026

Fourth Act collections.artsmia.org/art/127745

standing man at left wearing grey kimono with light grey dots, looking up toward a man peering over a blue, white and grey wall in URC; man in URC wears black; grey sky; courtyard with white and blue walls behind figures
Actors Kataoka Nizaemon VIII as Ōboshi Yuranosuke (L) and Nakamura Kantarō I as Yamana Jirozaemon (R). Related to the play Kanadehon Chūshingura 仮名手本忠臣蔵, performed at the Nakamura Theater in the 4th month of 1860.

yoshitoshi.bsky.social @yoshitoshi.bsky.social · 07/10/2026

Picture of Prince Moriyoshi, the Third Son of Emperor Daigo, Reciting the Lotus Sutra in the Dungeons of Kamakura collections.artsmia.org/art/127911

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 07/10/2026

Moon: Actor Ichikawa Sanshō as Kezori Kuemon collections.artsmia.org/art/127971

three sheets joined together; portrait of a scowling man with brown beard, moustache and long hair gathered in a yellow tie; man has hands on sides and leans slightly forward; garment has brown ground and brightly-colored pattern with a yellow dragon and purple, green and blue clouds; black ground; large peach-colored moon, ULC
The Kabuki actor Ichikawa Danjūrō IX (1838–1903) is portrayed as Kezori Kuemon, a real smuggler who became the subject of puppet and Kabuki plays. Kezori is the captain of a Japanese pirate ship and typically wears a Chinese-inspired costume decorated with dragons and jewels. He is depicted here in the moonlight waiting for a boat with illicit goods. Yoshitoshi emphasizes his power by setting his extravagant appearance on a plain background alongside a simple moon disk.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 07/10/2026

Clearing Weather of the Togakushi Mountains: Taira Koremochi Ason collections.artsmia.org/art/127816

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 07/10/2026

Looking as if somebody is about to arrive - The appearance of a fireman’s wife in the Kaei era www.wikiart.org/en/tsukioka-yoshito…

Looking as if somebody is about to arrive - The appearance of a fireman’s wife in the Kaei era

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 06/10/2026

Autumn Moon at Tōin: Hirai Inaba-no-kami Yasumasa and the Thief Hakamadare Yasusuke collections.artsmia.org/art/127818

three separate sheets; flowers in grey-blue, red and yellow around a stream; man at center wearing black cap and blue kimono with white birds, playing a black flute; crouching man at right with sword, wearing blue kimono with light blue and yellow flowers; moon and two horizontal grey clouds, ULC
This version of Yoshitoshi’s first Flute Player Triptych from 1868 was issued in 1894, after his death. It was revised and “updated” and thus reflects the change in the market. The cartouche with the signature of Katsukawa Shuntei III, who had designed the background, was removed in the bottom left corner and replaced with a cartouche about the publisher of this reprint. Since three different variations of this reprint exist, it must have been rather popular among buyers. The earliest, shown here, shows Yasumasa with the flute in his hands, dressed in a blue coat. In the later versions this coat is rendered in an orange-yellow tone. A final version, perhaps from around 1900, is without a publisher’s seal or Yoshitoshi’s signature.

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yoshitoshi.bsky.social @yoshitoshi.bsky.social · 06/10/2026

Railway Line at Takanawa (Takanawa tetsudō no zu) www.harvardartmuseums.org/collectio…

Harvard Art Museums/Arthur M. Sackler Museum, Bequest of William S. Lieberman

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