<b>NICHIREN IN SNOW AT TSUKAHARA ON SADO ISLAND</b> / Utagawa Kuniyoshi1832<b>SOLD</b></em>

Details

This design belongs to a series of prints that depict the life of Buddhist monk Nichiren (1222–1282), the founder of the Hokke sect of Buddhism. Nichiren lived during a time of great change—Japan’s Kamakura period—when the military government was first established and the shogun, or warlord, took governance over the country. Buddhism was well established during this period, firmly rooted in all areas of culture and government. Perhaps inspired by the zeitgeist of the time, Nichiren sought out to reform Buddhism, as it appeared to him it had lost its relevancy to the laity. Turning orthodoxy on its head, Nichiren stressed the idea of instant enlightenment, where Buddhist adherents could obtain salvation at any time without the necessity of practicing esoteric rituals or being reborn countless times to obtain the merit of salvation. In other words, Nichiren stressed correct thought and action in the here and now—action directly engaged in the world as a means of salvation. Nichiren’s novel beliefs angered many Buddhist authorities that saw his philosophy as a threat to undermine Buddhist orthodoxy and repivot power into the hand of his followers. As a result, Nichiren was subjected to persecution throughout his life, which included two assassination attempts and two exiles.

In this design, Kuniyoshi provides the viewer with a powerful scene depicting Nichiren’s exile from Sado Island. The scene is poetic and dramatic. The seaside village where Nichiren once dwelled precariously hugs the cliff, while the accumulating snow advances throughout the design, finding and filling virtually every space within the composition. Nichiren is shown slowly and methodically advancing the steep upgrade, negotiating the elements with every step. The snow-covered tree that leans over Nichiren echoes his determined stance. As one looks closely, the steepness of the cliff and the snow’s depth are revealed by the disappearing footsteps only feet away from this monk’s position.

Every aspect within this masterful composition accentuates the difficulty of the great monk’s accent out into the austere and, at times, grim reality of the world. This design is an apt tribute to Nichiren’s teachings—showing this enlightened monk’s determination to engage the harshness of life and, in so doing, cultivating oneself into an enlightened master.

Connoisseur's Note

It is no surprise that this masterful design was an exceedingly popular work for Kuniyoshi, as various states of the print are known. Of the many differences, the clearest distinction is the addition of the horizon line at right. As of yet, there is no agreement between scholars or connoisseurs as to which state is the earliest. In all likelihood, both states were likely produced concurrently. Many collectors find the omission of the horizon line, as in the case of this impression, more dramatic and better suited to communicating the harshness of the storm. This particular impression is interesting for its coloration. The steep mountainside in the background is not colored white, but brown, accentuating the foreground and highlighting Nichiren’s position within the composition.