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508:"the same spirituality and relationship of man to God as was expressed by the Italian primitives in their pictures of God appearing to the saints". Bidwell lays out his argument for some kind of historical parallel between Japanese and Christian art across the centuries: "...Nichiren and the rough soldiers who have him in custody see in adoration and consternation a vision of The Buddha standing in the branches of a leafless plum tree on a clear moonlight night. The intense beauty of the evening sky and moon against the lace like branches of the aged and gnarled plum tree, make you feel that God must manifest himself directly". Bidwell concludes that Kuniyoshi transcended the Italian painters in his successful approach.
485:
440:
831:("An American University Collection: Works of Art from the Allen Memorial Art Museum, Oberlin, Ohio"), 1979 ("Japanese Prints from the Ainsworth Collection"), 1989 ("Selections from the Ainsworth Collection"), 1995 ("Images of War: Ritual and Reality"), 2005 ("Visions of Turmoil and Tranquility: Japanese Woodblock Prints from the Collection"), in 2009 ("Starry Dome: Astronomy in Art and the Imagination"), in 2015 ("A Life in Prints: Mary A. Ainsworth and the Floating World"), 2016 ("Marking Time: Seasonal Imagery in Japanese Prints"), 2017 ("Lines of Descent: Masters and Students in the Utagawa School"), and in 2023 ("Variables: An Exercise in Close Looking").
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430:, to conduct rain rituals. Nichiren, then a lowly monk, criticized Ninshō's supporters, wagering that even he would follow Ninshō if he made it rain in a week. It did not rain, and Nichiren took advantage of the challenge to take on new followers for himself. Baskett notes that the romanticized legendary history depicted in the image might have been added after Nichiren died, although previous artists had also illustrated the "miracle" in the 17th century.
115:. The original ten prints are believed to have been used to illustrate Buddhist teaching materials and are part of an ancient illustrated literary tradition ascribed to Buddhist printmaking. It represents Kuniyoshi's eleventh major work since 1820, and somewhere around the 180–190th individual work, of a total of about 1000 works, some of which were variants, duplicates, or multiple individual works as part of a single series.
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to the exclusion of all other sects of
Buddhism. Ten years later, Tōjō Kagenobu and his warriors, supporters of Pure Land, tried to assassinate Nichiren at Matsubara in Tōjō. According to legend, two of Nichiren's supporters died in the attack and Nichiren himself was cut by a sword on his head and
683:
Various versions of this legend exist. In one retelling, the
Yamabushi threw a rock at Nichiren, which he was able to suspend in the air by the sheer will of his "spiritual power". In another version of the story, a member of a competing Buddhist school invited Nichiren to a contest to see who had
507:
in the 1930s, Raymond A. Bidwell, who would later go on to donate the largest collection of
Kuniyoshi prints in the U.S. to the Springfield Museum of Fine Arts, compared this print to early Christian art in Italy. Bidwell wonders if Kuniyoshi was addressing similar subjects and treatments, perhaps
830:
woodblock prints by Mary A. Ainsworth in 1950. Individual, selected prints from the series have been exhibited in many different exhibitions at the museum (and have traveled abroad elsewhere). Notable exhibitions of selected prints from the series at the Allen
Memorial Art Museum occurred in 1962
324:
are listed in chronological order of the life of
Nichiren. Kuniyoshi presents romanticized illustrations and legendary accounts of events in Nichiren's life. The title of the series appears on the right margin in red with the mark of the publisher Iseya Rihei (Ise-Ri Kinjudo), while the subtitle
557:
associated with the sea and storms. Nichiren was able to calm the sea by using the first line of the Lotus Sutra for protection. Like other images of
Nichiren, this was also depicted in previous Buddhist artwork in the 17th century. Art historian Christine M. E. Guth notes the influence of
1400:
873:
Robinson (1961) had previously estimated about 5,000 works by
Kuniyoshi; Lane (1963) proposed the number could be as high as 15–30,000 total number of works in different mediums. However, in 1978, Lane published a rough catalog numbering only around 1000 known works in
684:
the greater religious power to control the levitation of a rock. According to this legend, the man was able to lift the rock but
Nichiren prevented him from lowering it. Upon losing the contest, the story goes, the man left his sect and became Nichiren's follower.
237:, with another version illustrating 28 images from the life of Nichiren. During the Edo period, the need for printed religious materials increased in use for the purpose of teaching, with Kuniyoshi's work a notable example during this era, along with the older
745:
According to legend, in 1277 Nichiren was at Mount Minobu praying when a beautiful woman appeared and interrupted him. Holding up his
Buddhist scriptures, Nichiren compelled her to show her true self, at which point she transformed into a shichimen
600:
Baskett notes that upon his exile, Nichiren was left in a cemetery with crude shelter from the elements in the midst of a harsh winter characterized as "one of extreme cold, snow, and hoarfrost". Kuniyoshi's landscape was influenced by artist
617:(1786–1865) also referred to Bunpō's work in his designs. There is general agreement that this print is considered the greatest example of the entire series, with Baskett describing it as "the most loved and accomplished of the prints". The
716:
since they took life to provide for themselves. Nichiren was the son of a fisherman and was thought to be favorable to them. Baskett argues that this image shows a rarely seen gentle and sympathetic side to
Nichiren. Artist
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On his way to his forced exile to Sado Island, a large storm in the Sea of Japan threatens to destroy Nichiren's boat and frightened crew. To protect them, Nichiren casts a spell, the first line of the Lotus Sutra,
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for the execution, legends recount, but as the sword was about to come down on his neck, it broke in half, with various other supernatural accounts alleged to have occurred to prevent and forestall his death.
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for an example of the sequential order in a physical print edition. Some influential collections and catalogs (for example, Robinson 1982) fail to present the prints in the historical order presented by the
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in 1274. In the battle, a storm aided the Japanese defense, as it helped to sink part of the Mongol fleet. As part of the legend, it is often claimed that Nichiren predicted the Mongol invasion in his book
627:
There are also several print variants of this image, one of which contains a line separating the horizon, and another where the mountain appears brown. Regarding the variant with a line across the horizon,
750:(seven-faced dragon) and vanished. Before Kuniyoshi created this image from accounts of Nichiren's life, it was previously known from at least two older woodblock representations. These include
693:
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Japanese soldiers drive back a Mongol invasion. Mongol ships fire stones from catapults towards the shore, but the ships appear to be sinking due to the storm and power of Nichiren's prayers.
217:
notes the long, ancient tradition of Buddhist printmaking, tracing woodblock printing traditions in Japan back to Buddhist devotional rituals. The custom of depicting the life of Nichiren in
1732:
650:
design and themes. He was an avid collector of Japanese woodcut prints, and when he died, Monet left behind 231 Japanese prints decorating his house at Giverny, one of which was
807:, Nichiren was given credit for the storm, even though he had previously preached that Japan would be destroyed for ignoring him and his teachings about the Lotus Sutra.
902:
304:
was an example of this new perspective, using the historical figure of Nichiren to demonstrate Kuniyoshi's new technique. One of his most famous works from the series,
597:. He is depicted climbing, by himself, up a hill covered in snow; the houses in the village are visible below. He wears red robes as snowflakes fall around him.
401:
202:(1769–1825). Kuniyoshi's landscapes in the 1830s and 1840s were partly influenced by his knowledge of European art and his collection of Western-style prints.
1802:
646:(1840–1926) experimented with painting snowy landscapes, having painted the largest number out of any other Impressionist. Monet was also fascinated by
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writes, "The earlier state of this print has a horizon line bounding sea and sky, which was later removed, causing them to merge into each other", but
439:
1480:
775:
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In 1271, after insulting Hōjō Tokimune, Nichiren was, for the second time, arrested and exiled, this time to Sado Island. According to
300:). Kuniyoshi's new approach emphasized a connection between larger figures in the foreground against the background of the landscape.
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period (1611–1684), illustrating 17 events in Nichiren's life. It was likely used by religious adherents as a kind of reference work.
150:, is cited as the breakthrough work that established his name and contributed to his first major success. Before becoming a master of
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1322:
A Catalogue of Japanese & Chinese Woodcuts Preserved in the Sub-department of Oriental Prints and Drawings in the British Museum
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period (1681–1684), and an even larger, later version from the Edo period in the Takamizawa collection Later, Kuniyoshi's student,
164:(depictions of kabuki actors), but was unable to achieve any fame or notability in this genre. Secondarily, Kuniyoshi was known for
352:
790:
In the summer of 1281, the Mongol-led Yuan dynasty of China invaded Japan for the second time, seven years after the previous
257:(1760–1849). After Kuniyoshi died, his ashes were interred at the Daisenji temple, a 16th-century Nichiren Buddhist temple in
1712:
1642:
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1002:
233:, a similar work depicting 89 images of Nichiren's life, was published in 1632. The theme continued during the subsequent
205:
Kuniyoshi received a commission in 1831 for a new print series in remembrance of the 550-year anniversary of the death of
1580:. Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939. Accession Number: JP2856. Retrieved December 6, 2023.
537:
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Nichiren performs an exorcism on a woman in a temple, bringing forth a dragon which frightens the people in assembly.
564:
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suffered a broken hand. Nichiren Buddhists refer to the event depicted by Kuniyoshi as the "Komatsubara Persecution".
56:
1610:
376:(rosary), whose sparkling crystals confuse his attackers. Nikkyo, his student, is seen in the background, crouching.
1577:
618:
112:
1812:
1707:. British Museum Publications Ltd. for the Trustees of the British Museum and the British Library Board. p. 290.
819:
496:
Nichiren stands before a plum tree with his rosary, facing the ghostly appearance of the Buddha above the tree.
452:
312:(1850–1922) calls "a strength and grandeur of style that gives him a place perhaps even higher than Hiroshige".
178:
became popular in the 1830s and 1840s, particularly as expressed in the style and work of Kuniyoshi's colleague
1277:
562:(1760–1849) on this work, particularly what she calls a "creative reinterpretation" of the style of Hokusai's
1668:
Illustrated Catalogue of Japanese and Chinese Color-Prints: The Collection of the Late Hamilton Easter Field
1357:
998:
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in 1261, which only lasted a few years. Continuing his attacks, Nichiren's enemies obtained the help of the
1353:
629:
427:
213:. The finished prints were later used for Nichiren Buddhist religious materials. East Asian art historian
1807:
1792:
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Tōjō Kagenobu and his warriors, including horsemen and swordsmen, ambush Nichiren at Komatsubara in the
309:
730:
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214:
34:
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Nichiren is seen in prayer, kneeling beside a pine tree by the ocean. He is about to be executed at
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1320:
791:
718:
712:
In 13th-century Japan, some Buddhist sects discriminated against fishermen, as they were viewed as
705:
Nichiren appears in his red robes above the river bank bluff healing two fishermen, who fish using
637:
1363:
459:
1626:
544:
467:
380:
1414:
72:
1404:
1325:. British Museum. Dept. of Prints and Drawings. Printed by Order of the Trustees. pp. 536–538.
221:
was also already well established before Kuniyoshi began his new project. One popular example,
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26:
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Instead of drawing upon the older styles of well known works depicting Nichiren, Kuniyoshi's
1401:"A Votary of the Lotus Sutra Will Meet Ordeals: The Role of Suffering in Nichiren's Thought"
1239:
389:
246:
199:
91:. The series is referred to by many names, the result of various English translations, with
1735:. Exhibition History. Allen Memorial Art Museum, Oberlin, Ohio. Retrieved December 2, 2023.
1316:
1593:
1127:
Footprints of the Buddha: Japanese Buddhist Prints from American and Japanese Collections
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71:(1798–1861). It was published by Iseya Rihei in 1835–1836. The prints, which are in the
1700:
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1545:
1063:
992:
958:
804:
800:
713:
471:
258:
1574:"Monk Nichiren in Exile on Sado Island, from the series "Illustration of Famous Monks"
1035:
Prints of the Floating World: Japanese Woodcuts from the Fitzwilliam Museum, Cambridge
1786:
1463:
1125:
671:
Gazing at the Rock on Komuro mountain, on the Twenty-eighth of the Fourth month, 1274
640:(1839–1892), a student of Kuniyoshi, later produced a work based on a similar theme.
502:
463:
325:
appears in black below it. The prints are signed 朝櫻楼 / 国芳画 (Chooro / Kuniyoshi ga).
140:
woodblock printing that depicts warriors from history and mythology. His late 1820s
1156:
643:
218:
102:
53:
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when the rays from the sun destroy the executioner's sword, averting his death.
384:
422:
Japan experienced a major drought in the summer of 1271. The government asked
234:
419:(rosary) under an umbrella; his prayers appear to be answered by a downpour.
1037:. Fitzwilliam Museum in association with Lund Humphries Publishers. p. 114.
677:
179:
159:
80:
1561:
1166:
423:
182:(1797–1858), both of whom were students of the Utagawa school. Kuniyoshi's
1757:
1720:
1676:
1498:
1330:
1274:
Japanese Woodblock Prints: A Catalogue of the Mary A. Ainsworth Collection
1226:
1197:
1081:
907:
The Raymond A. Bidwell Collection of Prints by Utagawa Kuniyoshi 1798–1861
721:(1839–1892) is said to have later returned to this image in his own work.
581:
1650:
1440:
1379:
1293:
1257:
1065:
Japanese Woodblock Prints: Artists, Publishers, and Masterworks 1680–1900
1050:
1018:
914:
614:
371:
242:
206:
189:
172:(pictures of beautiful women) and for landscapes. The landscape genre in
167:
84:
1666:
1511:
1143:
976:
1528:
559:
392:
notes, "Nichiren's attacks on other Buddhist traditions made enemies."
254:
129:
62:
1770:
1458:
938:
888:
737:
Manifestation of the Seven-faced divinity at Minobuzan, 9th month 1277
491:
The Star of Wisdom Descends on the Thirteenth Night of the Ninth Month
1512:"Hokusai's Great Waves in Nineteenth-Century Japanese Visual Culture"
994:
Masterful Illusions: Japanese prints in the Anne Van Biema collection
568:(1831), a style which Kuniyoshi returned to again in his later work,
76:
87:(1222–1282), a Japanese Buddhist priest, philosopher and founder of
111:, was known to own that specific print and used it to decorate his
755:
470:
who plotted to behead him. He was brought to Takinoguchi beach at
458:
Nichiren's incessant attacks on the other Buddhist schools led to
273:
shows the influence of the Kishi school, particularly the work of
226:
676:
In Komuroyama, Nichiren suspends a large rock thrown at him by a
1748:
Rappard-Boon, Charlotte van; Kok, J. P. Filedt (1984)
700:
Converting the Spirit of a Cormorant Fisherman, Isawa River, Kai
553:
101:
is generally considered the greatest work in the entire series.
1750:
Hiroshige and the Utagawa School: Japanese Prints, C. 1810–1860
1211:
Beyond the Great Wave: The Japanese Landscape Print 1727–1960
762:, produced a similar work in the form of a triptych known as
524:
Banishment to Sado Island: Sutra Title on the Waves at Kakuta
1181:
Heroes & Ghosts: Japanese Prints by Kuniyoshi, 1797–1861
1752:. Netherlands, Rijksprentenkabinet, Rijksmuseum.
547:
and legends surrounding Nichiren, the storm was caused by
413:
Above a stormy sea, Nichiren prays at an altar with his
308:, gave Kuniyoshi a distinctive look, what art historian
1548:. (Trans. Richard-Stanley Baker). Weatherhill. p. 170.
862:
Pictorial Biography of the Founder of the Nichiren Sect
1611:"Japanese art and the exile of a holy Buddhist priest"
414:
369:
368:
in November 1264. Nichiren is depicted holding up his
359:
Tōjō Komatsubara, Eleventh day of Eleventh month, 1264
283:(picture album), a landscape painting manual known as
278:
193:
183:
173:
165:
157:
151:
141:
135:
127:
106:
60:
1244:. 3rd ed. Yale University Press. pp. 122, 253, 272.
826:
series for their collection from a bequest of 1,500
822:(AMAM) acquired the complete set of prints from the
854:
Brief Illustrated History of Life of the Great Monk
960:Images from the Floating World: The Japanese Print
462:, the de facto ruler of Japan, exiling him to the
192:, "kuni", derives from a syllable of his master's
782:Nichiren's Destruction of the Mongol Fleet, 1281
38:
1238:Paine, Robert Treat; Alexander Soper. (1981).
903:Michele and Donald D'Amour Museum of Fine Arts
858:Concise Illustrated Biography of Monk Nichiren
527:
383:(Amidism), proclaiming the superiority of the
289:
105:, who was both fascinated with snowscapes and
1276:. Allen Memorial Art Museum Oberlin College.
709:. Their hands are seen in the act of prayer.
446:Threatened at Tatsunokuchi in Sagami Province
93:Illustrated Abridged Biography of the Founder
8:
1130:. Philadelphia Museum of Art. p. 72, 85–89.
241:(early 17th century), depicting the life of
225:, was a woodblock print produced during the
500:
774:
729:
692:
663:
580:
516:
483:
438:
400:
351:
1631:Impressionists in Winter: Effets de Neige
1529:"Kawamura Bumpō The Artist and his Books"
611:A Book of Drawings of Landscapes by Bunpō
298:A Book of Drawings of Landscapes by Bunpō
1772:Sketches of the Life of the Great Priest
1691:. Fuji Arts. Retrieved December 7, 2023.
824:Sketches of the Life of the Great Priest
327:
322:Sketches of the Life of the Great Priest
302:Sketches of the Life of the Great Priest
271:Sketches of the Life of the Great Priest
21:Sketches of the Life of the Great Priest
1546:"Traditional Woodblock Prints of Japan"
1510:Guth, Christine M. E. (December 2011).
1475:
1473:
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1451:
1449:
1349:
1347:
1345:
1343:
1341:
1339:
953:
951:
930:
845:
426:(1217–1303), the first chief priest of
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1423:
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1302:
1268:
1266:
1120:
1118:
1116:
1114:
1112:
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905:. See also: Dailey, Merlin C. (1968).
379:In 1253, Nichiren famously criticized
1108:
1106:
1104:
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1098:
1096:
1094:
1092:
1090:
1029:
1027:
987:
985:
707:trained comorants to make their catch
652:In the Snow at Tsukahara, Sado Island
588:In the Snow at Tsukahara, Sado Island
306:In the Snow at Tsukahara, Sado Island
99:In the Snow at Tsukahara, Sado Island
7:
1184:. Hotei Publishing. pp. 8, 30, 187.
963:. G. P. Putnam's Sons. pp. 297–299.
277:(河村文鳳). (1779–1821) as found in his
251:Illustrated Life of Sakyamumi Buddha
83:woodblock format, tell the story of
1689:"The Origin of Shichimen Daimyojin"
1158:A History of Japanese Colour-Prints
909:. Springfield Museum of Fine Arts.
605:, based on a design from his book,
1485:2nd ed. Chelsea House. pp. 86–87.
621:refers to it as a "masterpiece of
408:Praying for Rain at Reizen-ga-saki
59:in ink and color on paper made by
14:
1803:Print series by Utagawa Kuniyoshi
1609:Walker, Lee Jay (July 28, 2018).
1457:Bidwell, Raymond A. (1930–1932).
1241:The Art and Architecture of Japan
1161:. William Heinemann. p. 51, 188.
764:The Origin of Shichimen Daimyojin
16:Print series by Utagawa Kuniyoshi
1671:. The American Art Association.
636:disputes this characterization.
95:one of the more popular titles.
1155:Seidlitz, Woldemar von (1910).
752:The Life of the Priest Nichiren
540:", which appears on the waves.
239:Illustrated Life of Kobo Daishi
223:The Life of the Priest Nichiren
156:, Kuniyoshi tried his hand at '
1544:Takahashi, Seiichirō' (1972).
1003:University of Washington Press
593:Nichiren walks in the snow on
126:(1798–1861) is best known for
1:
1665:Gookin, Frederick W. (1922).
1617:. Retrieved December 7, 2023.
1594:"The 'Nichiren' of Kuniyoshi"
1359:Kuniyoshi: The Warrior-Prints
46:
1068:. Tuttle Publishing. p. 13.
1005:. p. 30, 44, 122, 190, 194.
209:(1222–1282), the founder of
814:Collections and exhibitions
570:Tametomo's Ten Heroic Deeds
565:The Great Wave off Kanagawa
415:
370:
279:
194:
184:
174:
166:
158:
152:
142:
136:
128:
107:
61:
39:
1829:
1578:Metropolitan Museum of Art
939:"Monographs and Kuniyoshi"
619:Metropolitan Museum of Art
320:The prints in Kuniyoshi's
148:108 Heroes of the Suikoden
1482:Japanese Mythology A to Z
1479:Roberts, Jeremy. (2010).
1213:. Peter Lang. pp. 85–86.
1124:Baskett Mary. W. (1980).
820:Allen Memorial Art Museum
613:). Kuniyoshi's colleague
528:
290:
231:Nichiren shonin chugwasan
30:
1278:Indiana University Press
1705:Buddhism: Art and Faith
1592:(February-March 1921).
1527:Tinios, Ellis. (1994).
1429:Joly, Henre L. (1908),
1178:Schaap Robert. (1998).
1062:Marks, Andreas (2010).
1033:Hartley, Craig (1997).
999:Smithsonian Institution
957:Lane, Richard. (1978).
1733:Utagawa Kuniyoshi 歌川国芳
1590:Field, Hamilton Easter
1432:Legend in Japanese Art
1399:(January-March 2014).
991:Yonemura, Ann (2002).
937:Lane, Richard (1963).
501:
245:(774–835), founder of
40:Kōso goichidai ryakuzu
1777:National Diet Library
1435:. John Lane Company.
1272:Keyes, R. S. (1984).
634:Hamilton Easter Field
310:Woldemar von Seidlitz
52:) is a series of ten
1397:Stone, Jacqueline I.
1209:King James. (2010).
835:Notes and references
538:Namu Myōhō Renge Kyō
1635:Phillips Collection
1627:Moffett, Charles S.
945:. 18 (1–4): 38–351.
943:Monumenta Nipponica
719:Tsukioka Yoshitoshi
638:Tsukioka Yoshitoshi
1615:Modern Tokyo Times
1535:. 11 (3): 265–291.
1518:. 93 (4): 480–481.
673:(文永十一五月廾八日小室山注視石)
468:Kamakura shogunate
381:Pure Land Buddhism
1775:(Tanaka 1926) at
1280:. pp. 9–11, 189.
901:Now known as the
811:
810:
760:Utagawa Yoshitora
739:(建治三年九月身延山七面神示現)
607:Bunpō sansui gafu
549:Susanoo-no-Mikoto
361:(文永元十一月十一日東條小松原)
285:Bunpō sansui gafu
211:Nichiren Buddhism
124:Utagawa Kuniyoshi
89:Nichiren Buddhism
69:Utagawa Kuniyoshi
1820:
1813:Edo-period works
1736:
1730:
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1516:The Art Bulletin
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1317:Binyon, Laurence
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792:Battle of Bun'ei
784:(弘安四年上八利益濛 軍敗北)
778:
733:
696:
667:
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531:
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487:
442:
418:
404:
390:Jacqueline Stone
375:
355:
328:
295:
293:
292:
282:
249:, and the later
247:Shingon Buddhism
200:Utagawa Toyokuni
197:
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1533:Print Quarterly
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1467:. 4 (1): 29–30.
1459:"Kuniyoshi III"
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1354:Robinson, B. W.
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702:(甲斐 石和川鵜飼亡魂 道)
318:
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1765:External links
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1600:. 1 (3): 8–9.
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1793:1830s prints
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103:Claude Monet
98:
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20:
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18:
889:Tanaka 1926
595:Sado Island
572:(1847–50).
493:(九月十三夜依智星)
385:Lotus Sutra
343:Commentary
340:Description
265:Development
50: 1831
1787:Categories
1713:0714114324
1703:. (1985).
1643:0856674958
1562:1346054033
1554:0834810026
1366:. p. 107.
1167:1046526691
925:References
797:Ankoku Ron
448:(相州竜之口御難)
428:Gokurakuji
253:(1845) by
235:Edo period
119:Background
77:horizontal
1758:742491890
1721:989695781
1677:609344185
1499:540954273
1415:0387-5970
1331:609339380
1227:540644008
1198:762072527
1082:792687286
748:daimyōjin
678:Yamabushi
590:(佐州塚原雪中)
529:佐州流刑角田波題目
180:Hiroshige
160:yakusha-e
1798:Nichiren
1651:39223532
1629:(1999).
1598:The Arts
1441:61624979
1380:12512732
1356:(1982).
1319:(1916).
1294:12587042
1258:27354121
1051:37296659
1019:49991422
915:86010452
766:(1870).
615:Kunisada
207:Nichiren
190:art name
168:bijin-ga
85:Nichiren
54:Japanese
27:Japanese
1144:6423746
977:9123543
892:artist.
876:ukiyo-e
828:ukiyo-e
803:of the
648:ukeyo-e
623:ukiyo-e
560:Hokusai
255:Hokusai
175:ukiyo-e
153:musha-e
143:musha-e
137:ukiyo-e
130:musha-e
108:ukiyo-e
67:artist
63:ukiyo-e
35:Hepburn
31:高祖御一代略図
1779:(NDL).
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424:Ninshō
316:Series
840:Notes
756:Tenna
337:Title
291:文鳳山水画
243:Kūkai
227:Tenna
188:, or
73:large
1754:OCLC
1717:OCLC
1709:ISBN
1673:OCLC
1647:OCLC
1639:ISBN
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1550:ISBN
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1487:ISBN
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1411:ISSN
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1215:ISBN
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1132:ISBN
1078:OCLC
1070:ISBN
1047:OCLC
1039:ISBN
1015:OCLC
1007:ISBN
973:OCLC
965:ISBN
911:OCLC
887:See
818:The
554:kami
551:, a
416:mala
372:mala
280:gafu
771:10
331:No.
1789::
1715:.
1658:^
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950:^
941:.
860:,
856:;
726:9
689:8
680:.
660:7
654:.
577:6
532:)
513:5
480:4
435:3
397:2
348:1
261:.
198:,
195:gō
185:gō
146:,
79:,
75:,
47:c.
37::
33:,
29::
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609:(
536:"
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288:(
45:(
43:)
25:(
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