Utagawa Kuniyoshi (1797-1861) Popular Romance of the Three Kingdoms (Tsûzoku Sangokushi no uchi): Xuande (Gentoku) Jumps His Horse into the Tan Gorge, 1853. Oban Triptych.
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One of the best known and dramatic images of the Japanese ukiyo-e. This tremendous triptych by the peerless Kuniyoshi is a masterpiece of design: bold, abstract, without precedent. The print illustrates a scene from Popular Romance of the Three Kingdoms, written in the 14th century and one of the great classic novels of Chinese literature. Kuniyoshi used a great deal of romantic Chinese myth in his work, notably the long series of prints depicting the Heroes of the Water Margin in around 1827, that helped establish his reputation and career.
This print shows one of the lead characters from that text, Gentoku, the emperor of China, on his black horse Tekiro, plunging into the gorge of Tan. The setting is 3rd century A.D. China. The following description is from Japanese Treasure Tales by Kumasaku Tomita and published by Yamanaka & Company in 1906.
Gentoku was a descendant of the fourth generation of the Emperor Keitei of the Eastern Hung dynasty. Although of Royal blood, he began life in the humble position of a shoemaker... He was said to be incredibly strong and tall, with hands that hung down below his knees. Clearly his calling was to be a warrior and that is what he became. After he put down an uprising by the 'Yellow Ribbon Rebels' he was rewarded by the emperor and was made governor of Yoshu. But when the emperor was defeated Gentoku lost his position and became homeless. A relative of his, Riu Hio, took him in and even gave him quarters in a nearby castle. This did not please Riu Hio's wife or relatives and they plotted to kill Gentoku. His escape took place when surrounded on three sides the only way out was to the west where there was a cliff overlooking a wide river with a fast flowing current.
As soon as he realized his position, Gentoku, without a moment's delay, decided to attempt to escape across the river, and without waiting to inform his escort, he threw himself on to his favourite horse Tekiro and bolted towards the water. As soon as it became obvious that the bird was flown, a picked body of horsemen was detached in pursuit, but Gentoku, although he knew the apparent hopelessness of his task, decided in his own mind that "destiny is determined by heaven" gave rein to his good horse and dashed into the river. No one of his pursuers felt himself called upon to attempt to follow the fugitive into the swirling waters, and, fate favouring the bold, Gentoku safely negotiated the dangerous passage and gained the opposite bank, thus escaping the snare so carefully set for him.
After many desperate battles he at length, in A.D. 221, obtained the sovereignty of Shoku, and died in the following year.
Kuniyoshi pictures the desperate moment of escape in the fast flowing river. Gentoku clings grimly to the neck of Tekiro in the centre sheet whilst his pursuers languish hopelessly in the right. The prize of the safety of the opposite bank in the left sheet is signified by the presence of a boy riding an ox playing the flute, (ushidoji)… a neat visual allusion to the desperate stuggles of horse and rider below. This I think alludes to the zen Chinese poems, Ten Bulls. Ox herdboys riding oxen have been used as a motif in painting and graphic arts to symbolise the ability of the mind to control the body. That is, philosophically, symbolising the ability of intellectual will to rule bodily strength and its physical urges. Poem six thus:
Riding the Bull Home
Mounting the Ox, slowly
I return homeward.
The voice of my flute intones
through the evening.
Measuring with hand-beats
the pulsating harmony,
I direct the endless rhythm.
Whoever hears this melody
will join me.
This is an outstanding design and a privilege to display. Colour and impression are very good. Condition is very good. Unbacked, some edge fritts, very minor pinholes, some wear. Overall, very good - an outstanding print. Other copies of this print are in most notable museum collections since it is rightly considered to be a major work by the artist. Notably, the Museum of Fine Art Boston.
Publisher: Tsuta-ya Kichizô .
73 x 36 cm.
