Sanjô no Udaijin - Utagawa Kuniyoshi
Archival giclée
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Description
A woodblock print by Utagawa Kuniyoshi depicting Sanjô no Udaijin and the legendary figure Kintarô, from the series Ogura nazorae hyakunin isshu.
This woodblock print by Utagawa Kuniyoshi belongs to the series Ogura nazorae hyakunin isshu, which translates to 'Ogura Imitation of the Hundred Poets'. Kuniyoshi, a master of the Utagawa school, produced this work during the mid-nineteenth century. The print depicts Sanjô no Udaijin, a historical figure associated with the classical poetry anthology, alongside Kintarô, the legendary golden boy of Japanese folklore.
Kuniyoshi employs a distinct visual narrative here. The warrior figure, Sanjô no Udaijin, is rendered with meticulous attention to his patterned robes and weaponry, reflecting the artist's interest in historical costume and heroic subjects. Beside him, Kintarô is shown with his characteristic robust physique, holding a large axe. The composition balances the static, dignified posture of the courtier with the energetic presence of the child hero.
The print features the characteristic flat perspective and bold outlines common to the Ukiyo-e tradition. The colour palette remains balanced, utilising soft greens, muted reds, and earthy tones that define the figures against a simple background. Text blocks at the top of the print provide context, linking the visual imagery to the literary tradition of the Hyakunin Isshu. Kuniyoshi was known for his imaginative approach to traditional themes, often injecting a sense of drama or character into his subjects. This piece demonstrates his ability to combine historical reference with the popular folklore of the Edo period. The print serves as an example of how nineteenth-century artists reinterpreted classical poetry through the medium of popular woodblock illustration, making these stories accessible to a wider audience.
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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
Sanjô no Udaijin - 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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