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「破奇術頼光袴垂為搦（きじゅつをやぶってよりみつはかまだれをからめんとす）」
Yorimitsu Tries to Capture Hakamadare by Destroying His Magic (Kijutsu o yabutte Yorimitsu Hakamadare o karamen to su)
「破奇術頼光袴垂為搦（きじゅつをやぶってよりみつはかまだれをからめんとす）」
Japanese
Edo period
1858 (Ansei 5), 4th month
Medium/Technique
Woodblock print (nishiki-e); ink and color on paper
Dimensions
Vertical ôban triptych; 34.5 × 72.3 cm (13 9/16 × 28 7/16 in.)
Credit Line
William Sturgis Bigelow Collection
Accession Number11.39708a-c
NOT ON VIEW
CollectionsAsia, Prints and Drawings
ClassificationsPrints
Catalogue Raisonné
Shibuya Kuritsu Shôtô Bijutsukan, Musha-e (2003), #137; Asahikawa Museum, Utagawa Kuniyoshi ichimon no zenbôten (2000), #3-7-2; Baren no kai, Zuroku kôki Utagawa-ha (1988), #114; Zusetsu Nihon no koten 19, Kyokutei Bakin (1980), fig. 348
DescriptionMFA impressions: 11.21432-4, 11.22917-9, 11.39705a-c, 11.39706a-c, 11.39707a-c, 11.39708a-c
Lord Minamoto Yorimitsu, also known as Raikô, and three of his four top retainers--Urabe Suetake, Hirai Yasumasa, and Watanabe Tsuna--pursue the notorious thief Hakamadare Yasusuke. Hakamadare attempts to evade capture by using magic to create a distracting illusion of a battle between a bear and a giant snake.
Lord Minamoto Yorimitsu, also known as Raikô, and three of his four top retainers--Urabe Suetake, Hirai Yasumasa, and Watanabe Tsuna--pursue the notorious thief Hakamadare Yasusuke. Hakamadare attempts to evade capture by using magic to create a distracting illusion of a battle between a bear and a giant snake.
Signed
Ichieisai Yoshitsuya (on each sheet)
一英斎芳艶
一英斎芳艶
Marks
Censor's seal: Horse 4
No blockcutter's mark
改印：午四
彫師：なし
No blockcutter's mark
改印：午四
彫師：なし
ProvenanceBy 1911, purchased by William Sturgis Bigelow (b. 1850–d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: January 19, 2005)
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.
NOTES:
[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.