Miscellaneous religious prints

Japan has a long tradition of humorous depictions of Buddhist deities, which meshed well with Kuniyoshi’s sense of satire. He is known to have been an adherent of the Nichiren sect of Buddhism. Unless otherwise indicated, these prints are each about 14 by 10 inches (36 by 25 centimeters), a size known as ôban.

	From top to bottom: Eye and nose of Mirume and Kaguhane, the seer and the sniffer-outer of evil Enma, one of the kings of hell Two oni, demons in Japanese folklore Probably, Ono no Takemura (小野篁), a 9^th century Heian official said to have become an assistant to Enma NOTE: I am grateful to Robert Pryor for this hanshita-e (final drawing).
	Title: Description: A large crowd of noisy people coming to pray to Datsueba, which is too much for her to hear Date: 1849-1851 (censors Fuku and Muramatsu) Publisher: Izutsu-ya Shôkichi I am grateful to Robert Pryor for this image.
	Title: Description: People praying at the Datsueba statue at Shôjuin Temple Date: 1847-1850 (censors Mera and Murata) Publisher: Kobayashi Taijirô I am grateful to Robert Pryor for this image.
	Title: Comic Ken in Asakusa’s Okuyama (Dôke Asakusa Okuyama ken) Description: Enma, Asahina and Datsueba playing the game of ken Date: 1847 Publisher: Yahata-ya Sakujirô Linhart: 13/10018
	Title: Description: Okina Inari and Datsueba Date: 1847-1850 (censors Mera and Murata) Publisher: Tama-ya Sôsuke
	Title: Ryûkô oba-san negai jôju Description: People, animals, and Raijin praying to Datsueba, who is in the reclining pose of the dying Buddha. The tanuki (rear, left) is spurned for his treatment of the old woman in the kachikachiyama story Date: 1847-1850 (censors Mera and Murata) Publisher: Tsujioka-ya Bunsuke NOTE: According to Japanese Buddhist folklore, Datsueba is an old woman who sits at the edge of the Sanzu River in the underworld and punishes wrongdoers. I am grateful to Robert Pryor for this image.
	Title: Shibuya Kuritsu Shôtô Bijutsukan, Ukiyoeshitachi no shinbutsu Description: Date: 1846-1852 Publisher: Izutsu-ya Shôkichi
	Title: Description: The Great Image of Buddha at Nara and the Tiny Image of Kannon (goddess of mercy) at Asakusa Date: Publisher:
	Title: Datsueba no negoto Description: Datsueba hearing prayers Date: c. 1849 Publisher: Kiyoimizu-ya Naojirô
	Title: Comic ken zake at Okuyama in Asakusa (Asakusa Okuyama dôke kenzake) Description: Enma and Asahina playing the game of ken-zake Date: 4^th month of 1847 Publisher: Yahata-ya Sakujirô Linhart: 14/10006
	Title: Grandfather, Grandmother, and a Foreigner (Jiisan basan ketôjin, じいさん ばアさん じいさん ばアさん 毛唐人) Description: The Inari deity, Datsueba, and a bearded barbarian from China playing ken Date: 4^th month of 1849 (censors Mera and Murata) Publisher: Enshû-ya Hikobei Linhart: 51/10143 I am grateful to Robert Pryor for this image.
	Title: All Sorts of Lifelike Dolls (Tôsei ningyô zukushi no uchi, 當世人形づくしの内) Description: The god Fudô-myôô (不動明王) and priest Yûten (祐天) Date: 3^rd month of 1856 Publisher: Fujioka-ya Keijirô NOTE: This print actually illustrates carved “dolls” displayed at Kannon Temple in Asakusa.
	Title: Description: Datsueba and Sanno Gongen Date: 1847-1850 (censors Mera and Murata) Publisher: Sumiyoshi-ya Masagorô
	Title: Toshitokujin (歳徳神) (a deity associated with the New Year) Description: The goddess seated above Mt. Fuji and another seated figure Date: 1849 (censors Fuku and Muramatsu) Publisher: Katô-ya Iwazô (岩) NOTE: Toshitokujin is the patroness of Onmyôdô (陰陽道) and determines the direction of luck. This design was reprinted in 1861, the next year of the rooster. I am grateful to Michael O’Clair for the image.
Title: Description: Okina Inari and Datsueba are neck wrestling (kubihiki) while foxes and horses cheer Date: 1847-1850 (censors Mera and Murata) Publisher: Tama-ya Sôsuke NOTE: This print is a horizontal ôban, about 10 by 14 inches (25 by 36 centimeters)
Title: The Transfer Ceremony at Ise Shrine (Ise Daijin miya-utsushi, 伊勢太神宮遷御之圖) Date: 1849 (censors Yoshimura and Kinugasa) Publisher: Kawaguchi-ya Uhei NOTE: This print is a horizontal ôban, about 10 by 14 inches (25 by 36 centimeters). I am grateful to Marc DeVriese for this image.
Title: Description: Pilgrims to Ôyama Come Across Pilgrims to Mt. Fuji at the Gate of Takanawa Date: 1834-1835 Publisher: Kaga-ya Kichiemon
Title: Great Memorial for Those Killed in the Fires (Shôshi daihôe zu, 焼死大法会図) Description: People praying, some with injuries and broken wooden beams Date: c. 1854-1855 Publisher: NOTE: This unsigned print probably refers to the Ansei earthquakes, a series of major earthquakes that struck Japan during the Ansei era (1854–1860). I am grateful to Robert Pryor for this image and information.
Title: Daruma on the Shelf Teaches Us the Signs of Future Events (Tana no daruma, Satori no kuchimoto) Description: Date: 8^th month of 1858 Publisher: Enshûy-a Hikobie
This is the original drawing for the above diptych
Title: Untitled (a view of Hell) Description: In the center sits Enma, King of Hell, dressed as a Chinese official, flanked by his minions. He sits in judgment, deciding whether the deceased had been good or bad. Those found wanting are shown being boiled, crushed, burnt or having their tongues pulled out. Date: c. mid 1830’s Publisher: Yorozu-ya Magobei (yellow rectangle in left-lower corner)
Title: Description: A group of actors on their way to Oji Shrine (Inari jinja) on New Year’s day Date: c. 1815-1816 Publisher:
Title: Theatrical Parody of the Sixteen Ahrats (Mitate jûroku rakan, 美達住楼久楽翫) Description: The title of the triptych Mitate jûroku rakan (Theatrical Parody of the Sixteen Ahrats) is a pun on words alluding to the beautiful men who are staying in the brothels forever. The triptych illustrates 29 densely packed figures consisting of Buddha’s disciples (arhat, rakan), apprentices (dôji) and various foreign looking animals personifying famous actors. The most celebrated actors are depicted with a nimbus indicating their status as Buddha’s disciples. Usually there are 16 disciples but in this depiction only 15 appear. The famous kabuki star Ichikawa Kuzô II is missing his nimbus which was probably unintended. The majority of the portrayed actors are displayed as Asians with curly, brown hair and a beard. Hairstyle, garment and figure of the impersonators of female roles (onnagata) are illustrated in distinctively western style. Kuniyoshi who was keen on all things foreign depicted Buddha’s disciples as the following actors: 1. Ichikawa Ebijûrô IV 2. Unknown 3. Bandô Mitsugorô IV (also named Morita Kanya XI) 4. Sawamura Sôjûrô V 5. Bandô Sajûrô 6. Ichikawa Kuzô II 7. Onoe Baikô IV 8. Bandô Takesaburô (probably) 9. Nakayama Ichizô 10. Ichikawa Ebizô V 11. Arashi Kichisaburô III 12. Unknown 13. Seki Sanjûrô III 14. Ichikawa Hirogorô 15. Nakamura Tsuruzô / Arashi Isaburô 16. Unknown 17. Bandō Shûka 18. Bandô Hikosaburô IV 19. Onoe Shinshichi III 20. Ichikawa Kodanji IV 21. Nakamura Kantarô (probably) 22. Arashi Otohachi (probably) 23. Iwai Kumesaburô III 24. Nakayama Bungorô III 25. Ichikawa Danjûrô VIII 26. Ôtani Tomoemon IV 27. Onoe Kikujirô II 28. Arashi Rikan III 29. Ichimura Uzaemon XIII (the later Onoe Kikugorô V) Date: 1849-1851 (censors Fuku and Muramatsu) Publisher: Sumiyoshi-ya Masagorô
	Title: None Description: Datsueba hearing prayers Date: 1849-1851 (censors Fuku and Muramatsu) Publisher: Tsujioka-ya Bunsuke I am grateful to Robert Pryor for this image.

“Linhart” refers to listing in the article ‘Kuniyoshi’s Ken Caricatures between 1847 and 1853’, by Sepp Linhart in Andon, Vol. 83, 2008, pp. 5-29

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