Scene Adapted from the play The Treasury of Loyal Retainers (Chushingura) - Kitagawa Utamaro
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Description
A refined woodblock print by Kitagawa Utamaro depicting a theatrical scene from the classic Japanese play, The Treasury of Loyal Retainers.
This woodblock print by Kitagawa Utamaro depicts a theatrical scene inspired by the Chushingura, or The Treasury of Loyal Retainers. The narrative concerns the vendetta of forty-seven leaderless samurai, a subject frequently adapted for the kabuki stage during the Edo period. Utamaro, known for his mastery of the bijin-ga genre, applies his characteristic focus on human expression and posture to this ensemble composition.
The scene features a group of figures in formal attire, arranged across a wide, multi-panel format. The central figure holds a fan, surrounded by seated attendants and musicians. Utamaro employs fine, controlled lines to define the folds of the kimonos and the delicate features of the faces. The composition balances the static, seated figures with the central standing performer, creating a sense of theatrical staging. The background includes subtle architectural elements and decorative motifs, such as the crane, which add depth without distracting from the primary subjects.
Utamaro was a central figure in the Ukiyo-e movement, and his work often explored the nuances of social interaction and performance. In this print, the artist captures the tension and formality inherent in the source material. The muted colour palette, typical of period woodblock printing, relies on soft earth tones, charcoal, and pale pinks to create a cohesive visual experience. The print demonstrates the technical precision required for multi-block printing, with each colour layer aligned to maintain the clarity of the design. This work provides a window into the intersection of popular theatre and visual art in eighteenth-century Japan, documenting the aesthetic conventions of the time through the lens of one of its most accomplished practitioners.
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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.
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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
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- 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
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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
Scene Adapted from the play The Treasury of Loyal Retainers (Chushingura) - Kitagawa Utamaro
Artist Biography
Kitagawa Utamaro
Almost nothing is certain about his early life. He was born around 1753, possibly in Edo, possibly in Kyoto, possibly in Kawagoe. He began publishing prints in the 1770s under the guidance of the publisher Tsutaya Juzaburo, who recognised what Utamaro could do with a portrait of a woman.
What he could do was unprecedented. He invented the okubi-e format: large head-and-shoulders portraits of individual women, mostly from the Yoshiwara pleasure district, printed in close-up with minimal background. Before Utamaro, bijin-ga (pictures of beautiful women) showed groups of figures in full length. He isolated the face, the tilt of the head, the expression. The prints are psychologically specific in a way that had not existed in Japanese printmaking.
He also published books of insect studies and volumes of shunga (erotica), and he made portraits of ordinary town women, not just courtesans. Ohisa and Okita, two shopgirls who appeared in his Three Beauties of the Present Day, became famous across Edo because of his prints. He turned real people into celebrities, which may be the first documented instance of an artist functioning as a kind of media platform.
Tsutaya Juzaburo died in 1797. Utamaro was reportedly devastated. Some critics feel his work never reached the same level afterward. He produced over two thousand prints in his career.
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