Dong Yong (Toei) - Utagawa Kuniyoshi
Archival giclée
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Description
A woodblock print by Utagawa Kuniyoshi depicting the legend of Dong Yong from the series Twenty-four Paragons of Filial Piety.
This woodblock print by Utagawa Kuniyoshi depicts the legend of Dong Yong, a figure from the Chinese classic, The Twenty-four Paragons of Filial Piety. The narrative recounts Dong Yong selling himself into servitude to pay for his father's funeral. His devotion moves the heavens, and a celestial weaver descends to assist him in weaving silk to buy his freedom. Kuniyoshi captures the moment of the celestial being's departure or arrival, with figures below gesturing towards the sky in awe.
The composition employs a clear division between the terrestrial realm, marked by the shoreline, the gate, and the figures, and the ethereal space occupied by the floating weaver. Kuniyoshi uses a balanced palette of muted blues, ochres, and reds, typical of the mid-nineteenth-century Edo period. The lines are precise and controlled, defining the drapery of the celestial figure and the expressive postures of the observers. The inclusion of a small boat on the water and a tree framing the right side provides spatial depth to the scene.
As part of the series Nijushiko doji kagami, this work functioned as both an educational tool and a moral guide for children. The text block in the upper left corner provides the specific moral lesson associated with Dong Yong. Kuniyoshi, known for his imaginative compositions and technical skill, brings a sense of movement to the static medium of the woodblock print. The print demonstrates the artist's ability to blend traditional moral instruction with the visual language of the Ukiyo-e school. It remains a representative example of how classical Chinese narratives were adapted and visualised for a Japanese audience during the late Edo period.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Dong Yong (Toei) - Utagawa Kuniyoshi
Artist Biography
Utagawa Kuniyoshi
For the first thirteen years he struggled. The breakthrough came in 1827 with a commission to illustrate the 108 Heroes of the Suikoden, a Chinese adventure novel. He drew tattooed warriors in dynamic poses that broke out of the frame, the tattoos rendered with a detail that started a fashion in Edo. The series was enormously popular and established him as the leading designer of warrior prints.
He loved cats. His studio was always full of them, and he often worked with a kitten tucked inside his kimono. When a cat died, he sent it to a nearby temple, and he kept a Buddhist altar for his deceased cats at home. Cats appear constantly in his prints: as substitute actors in kabuki scenes, as letter-forms in playful alphabets, as parodies of famous paintings. Government censorship in the 1840s prohibited the depiction of actors and courtesans by name, so Kuniyoshi gave them cat faces, which was technically legal and funnier.
His range was unusual for an ukiyo-e artist. Warriors, landscapes, beautiful women, ghosts, satirical cartoons, cats. He was equally comfortable with the heroic and the absurd, sometimes on the same sheet. His triptych of the giant skeleton spectre, from the tale of Takiyasha the Witch, is one of the most reproduced images in Japanese art.
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