Zhang Shun, the White Streak in the Waves - Utagawa Kuniyoshi
Archival giclée
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Description
A dynamic woodblock print by Utagawa Kuniyoshi depicting the legendary warrior Zhang Shun in a scene from the Water Margin.
This woodblock print by Utagawa Kuniyoshi depicts the legendary warrior Zhang Shun, a character from the Chinese classic novel, Water Margin (Suikoden). Kuniyoshi gained fame for his series of prints featuring these heroes, which revitalised the genre of musha-e, or warrior prints, in the nineteenth century. The composition captures a moment of high tension as Zhang Shun navigates turbulent waters, his body covered in elaborate tattoos that signify his status and strength. He holds a blade in his mouth, his posture suggesting movement and agility amidst the chaotic environment of arrows and submerged structures.
Kuniyoshi employs a dynamic use of line to define the muscular form of the figure and the swirling patterns of the water. The print demonstrates the technical precision of the Edo-period woodblock process, where multiple carved blocks were used to layer colour and detail. The figure is positioned centrally, drawing the eye to the contrast between his pale skin and the dark, rhythmic lines of the surrounding water. The inclusion of text blocks, typical of the format, provides context for the narrative scene. This work reflects the interest in heroic tales and folklore that permeated Japanese visual culture during this period. The artist balances the ferocity of the subject with a controlled, decorative approach to the background elements, such as the architectural fragments and the arrows piercing the water. This print is a representative example of Kuniyoshi's ability to combine narrative drama with the graphic conventions of the ukiyo-e tradition, offering a view into the aesthetic priorities of the time.
Return policy
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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Zhang Shun, the White Streak in the Waves - 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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