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Arrival of the Korean Embassy in Edo, Torii Kiyonobu I
Arrival of the Korean Embassy in Edo, c. 1709

Torii Kiyonobu I

1664–1729 · Ukiyo-e · 15 works

Torii Kiyonobu I helped establish the visual language of Kabuki theater in early Japanese woodblock prints. His family’s work for the stage brought bold outlines and emphatic gestures into images that could be held in the hand. These prints belong to a period before full-color woodblock printing became widespread; color was often added by hand over the printed design. The theatrical figures reward attention to the curve of a sleeve or the angle of a leg. Some surviving works are attributed to Kiyonobu rather than securely identified as his, a distinction retained in their records.

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15 works · 1700–1721

Compare an actor’s face with the outline of the costume. Which communicates the character most immediately?

1700–1710 · 5 works

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Hishikawa Moronobu, credited as the first true ukiyo-e artist, drew the people of Edo at leisure, in black-ink prints and in paintings. Torii Kiyonobu I, founder of the Torii school, made kabuki actors his main subject. The courtesans in such pictures, women of Edo’s licensed Yoshiwara quarter, were exploited in a system of forced and strictly controlled prostitution.

In the museum: Ukiyo-e room · 2 works

1709–1710 · 3 works

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1715–1721 · 7 works

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In the museum: Ukiyo-e room · 1 work

Original museum reproductions, with source records on every artwork page.

Artist information: Honolulu Museum of Art (Torii Kiyonobu I, Fujimura Handayū II as Kusunoki’s Wife, Kikusui), Art Institute of Chicago.

Public-domain art. An imagined museum; no museum affiliation.