Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 72 værker af Kawanabe Kyōsai i vores katalog
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Three Kyōgen Dancers (801) er det maleri af Kawanabe Kyōsai, der vækker mest opsigt; originalen findes på Metropolitan Museum of Art, New York. Derefter falder blikket på Sketches of East Asian Legendary Figures (801) og Yang Guifei Adjusting her Hair (1850). Blandt de 72 værker af Kawanabe Kyōsai i vores katalog er disse 72 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
A preliminary ink drawing captures three performers in the midst of a kyōgen dance. These figures, rendered with a fluid and spontaneous energy, embody the comedic essence of traditional Japanese theater. Each dancer is frozen in a distinct, expressive pose that suggests movement and rhythmic timing. One figure holds a drum, another a fan, and the third a bag, marking the specific roles and props essential to the performance. The…
The ink flows across the paper, capturing a moment of quietude and myth. In this black and white drawing, figures from the realm of legend emerge from the shadows of the everyday. We see Japanese figures like Daikoku and Urashima Tarō sharing space with Chinese immortals and the Twenty-Four Paragons of Filial Piety. There is a strange, casual intimacy to the scene, as if these divine and legendary beings have…
In "Yang Guifei Adjusting her Hair" by Kawanabe Kyōsai, the brush captures a moment of quiet preparation. The subject is Yang Guifei, a woman known to history as Lady Yang. She was the beloved consort of Emperor Xuanzong of Tang and remains celebrated as one of the Four Beauties of ancient China. Here, she is a figure of grace, focused on the delicate task of arranging her hair.
In this vertical composition, Kawanabe Kyōsai presents a dynamic encounter between two figures from Japanese folklore. The work, created about 1850, centers on the mountain hag Yamauba and the superhuman child Kintarō. A large, standing female figure dominates the space, her presence defined by the voluminous folds of her robes. Beside her, a smaller, crouching male figure provides a sense of scale and tension. The arrangement of these two bodies…
The scene unfolds within the delicate confines of a hanging scroll, where the figure of the Hell Courtesan, known in Japanese as Jigoku Tayū, emerges from the silk. This work, titled Hell Courtesan, captures a moment of profound stillness and spiritual weight. The artist, Kawanabe Kyōsai, brings this legendary character to life through a composition that balances the elegance of a high-ranking courtesan with the unsettling imagery of the afterlife.…
In this horizontal handscroll from 1870, we find a quiet, almost whispered dialogue between human presence and the natural world. The composition relies heavily on the use of negative space, a deliberate emptiness that allows the viewer to focus entirely on the gestural energy of the brushstrokes. It is a work of profound restraint, where the absence of color speaks more loudly than a full palette could. The monochromatic shades…
Calligraphy and Painting Party is a hanging scroll created by the Japanese painter and caricaturist Kawanabe Kyōsai. Born in 1831 in Koga, Japan, the artist navigated the shifting tides of the Edo and Meiji periods. This work dates to 1880, a moment when his brush captured the restless energy of a changing nation. His hand moved with the precision of a trained scholar and the wit of a satirist.
In this work, Wisteria Maiden and Demon Priest, Kawanabe Kyōsai presents a dramatic encounter between a maiden and a demon priest. The composition is centered on a woman dressed in an ornate, multi-colored kimono featuring red, blue, and white patterns. She appears to dance or float gracefully above a crouching, monstrous figure. This figure, the demon priest, is depicted with a weathered, muscular, and grotesque face, wearing dark, heavy robes…
Painting Party is a traditional Japanese ukiyo-e woodblock print by Kawanabe Kyōsai. The artist, born in 1831 in Koga, Japan, lived until 1889. This work emerged from a life defined by the shifting currents of the Meiji era. It captures a specific moment of social gathering through the precision of the woodblock medium.
Kawanabe Kyōsai painted Night Procession of One Hundred Demons about 1880. The work captures a Hyakki Yagyō, a traditional Japanese Night Parade of One Hundred Demons. This supernatural event brings a chaotic procession of various yokai into the light of the viewer's gaze. It is a rhythmic movement of spirits passing through the dark.
Hell Courtesan1880
12![Jurōjin [center of a triptych] (1884) af Kawanabe Kyōsai](/media/artworks/images-thumb/f2/17/f2177c6c2daa44c748098dea74905338.jpg)
Jurōjin [center of a triptych]1884 · Minneapolis Institute of Art
13
Theatre Curtain of Shintomi-za, with an Impromputu Sketch Monster1880
14
Squirrels Eating Chestnuts1886 · Los Angeles County Museum of Art
15
A Beauty in Front of King Enma's Mirror1887
16
Urashima Tarō Riding on a Tortoise1888 · Metropolitan Museum of Art
17
Two Children Playing with Goldfish1887 · Metropolitan Museum of Art
18
Two Birds on a Branch1887 · Metropolitan Museum of Art
19
Singing Bird on a Branch1887 · Metropolitan Museum of Art
20
滝に燕図 Swallows by a Waterfall1887 · Metropolitan Museum of Art
21
Tale of the Tongue-cut Sparrow1800 · Los Angeles County Museum of Art
22
Sketches of Birds and Animals1870 · Metropolitan Museum of Art
23
Three Crossbills on a Leafless Tree1878 · Minneapolis Institute of Art
24![Chinese-style Landscape with Man Fishing from a Boat by Moonlight [right of a triptych] (1884) af Kawanabe Kyōsai](/media/artworks/images-thumb/02/16/02167aa89de2084c55ece3ba823f361b.jpg)
Chinese-style Landscape with Man Fishing from a Boat by Moonlight [right of a triptych]1884 · Minneapolis Institute of Art
25![Landscape with River in Mountainous Country [left of a triptych] (1884) af Kawanabe Kyōsai](/media/artworks/images-thumb/6b/f2/6bf227dd0dd55876bd02952845998117.jpg)
Landscape with River in Mountainous Country [left of a triptych]1884 · Minneapolis Institute of Art
26
猿を襲う鷲図 Eagle Attacking a Monkey1885 · Metropolitan Museum of Art
27
兎を追う鷲図 Eagle Pursuing Rabbit1885 · Metropolitan Museum of Art
28
Eagle Attacking a Mountain Lion1885 · Metropolitan Museum of Art
29
White Eagle Eyeing a Mountain Lion1885 · Metropolitan Museum of Art
30
Rocky Landscape1887 · Metropolitan Museum of Art
31
Crow on a Branch1887 · Metropolitan Museum of Art
32
Untitled (D2X7KF)1887 · Metropolitan Museum of Art
33
Fox Catching Bird1887 · Metropolitan Museum of Art
34
Bird and Frog1887 · Metropolitan Museum of Art
35
松に鴉図 Two Crows on a Pine Branch1887 · Metropolitan Museum of Art
36
Cranes in Marsh1887 · Metropolitan Museum of Art
37
Buffalo and Herdsman1887 · Metropolitan Museum of Art
38
柳に鴉図 Crow and Willow Tree1887 · Metropolitan Museum of Art
39
岩に鴉図 Crow on a Rock1887 · Metropolitan Museum of Art
40
Owl Mocked by Small Birds1887 · Metropolitan Museum of Art
41
木に鴉図 Crow on a Branch1887 · Metropolitan Museum of Art
42
竹に鴉図 Crow on a Bamboo Branch1887 · Metropolitan Museum of Art
43
旭に群鴉図 Flock of Crows at Dawn1887 · Metropolitan Museum of Art
44
ムクドリ図 Starlings on a Branch1887 · Metropolitan Museum of Art
45
Fish in a Whirlpool1887 · Metropolitan Museum of Art
46
富士図 Mount Fuji1887 · Metropolitan Museum of Art
47
Rocky Landscape1887 · Metropolitan Museum of Art
48
瓜に鼠図 Mice in a Melon1887
49
Eagle Attacking Fish1887 · Metropolitan Museum of Art
50
Squirrels Gathering Chestnuts1887 · Metropolitan Museum of Art
51
Monkey Hanging from Grapevines1887 · Metropolitan Museum of Art
52
雪中鴉図 Crow Flying in the Snow1887 · Metropolitan Museum of Art
53
Waterfall, Eagle and Monkey1887 · Metropolitan Museum of Art
54
月に鴉図 Crow and the Moon1887 · Metropolitan Museum of Art
55
Pheasant Caught by a Snake1887 · Metropolitan Museum of Art
56
Shakyamuni Conquering the Demons (Shaka Gōma zu)1888 · Metropolitan Museum of Art
57
Eagle Holding Small Bird1887 · Metropolitan Museum of Art
58
Monkeys1888 · Metropolitan Museum of Art
59
Deer and Monkeys1887 · Metropolitan Museum of Art
60
Rabbits1887 · Metropolitan Museum of Art
61
Cat Catching a Frog1887 · Metropolitan Museum of Art
62
水辺に鴉図 Crow and Reeds by a Stream1887 · Metropolitan Museum of Art
63
白衣観音図 White Robed Kannon1887 · Metropolitan Museum of Art
64
Playful DemonYale University Art Gallery
65
Frolicking Animals, Nekomata and Tanuki Badger
66![Long Arms [right of a pair of Long Legs and Long Arms] af Kawanabe Kyōsai](/media/artworks/images-thumb/45/74/4574e1a5761f37a00ea2cfcaee32ca34.jpg)
Long Arms [right of a pair of Long Legs and Long Arms]Minneapolis Institute of Art
67![Long Legs [left of a pair of Long Legs and Long Arms] af Kawanabe Kyōsai](/media/artworks/images-thumb/7e/70/7e70b910a18471a843418bff84dae0f5.jpg)
Long Legs [left of a pair of Long Legs and Long Arms]Minneapolis Institute of Art
68
Seven OtafukusMinneapolis Institute of Art
69
Tanuki (Racoon Dog) Viewing Its Reflection in Water801 · Metropolitan Museum of Art
70
Boy’s Day Carp Streamer and Shōki Banner1870 · Metropolitan Museum of Art
71
Figure Sketches
72
Frolicking Figures and Animals
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 5 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Kawanabe Kyōsai | Malerier fra denne liste |
|---|---|---|---|
 Metropolitan Museum of Art |
New York | 48 | Three Kyōgen Dancers, Sketches of East Asian Legendary Figures, Frolicking Figures and Animals |
 Minneapolis Institute of Art |
Minneapolis | 8 | Wisteria Maiden and Demon Priest, Jurōjin [center of a triptych], Three Crossbills on a Leafless Tree |
 Los Angeles County Museum of Art |
Los Angeles | 4 | Yang Guifei Adjusting her Hair, Yamauba and Kintarō, Squirrels Eating Chestnuts |
 Cleveland Museum of Art |
Cleveland | 2 | Hell Courtesan, Painting Party |
 Yale University Art Gallery |
New Haven | 1 | Playful Demon |
Vælg et årti for at se det originale værk, der definerer det.
In "Yang Guifei Adjusting her Hair" by Kawanabe Kyōsai, the brush captures a moment of quiet preparation. The subject is Yang Guifei, a woman known to history as Lady Yang. She was the beloved consort of Emperor Xuanzong of Tang and remains celebrated as one of the Four Beauties of ancient China. Here, she is a figure of grace, focused on the delicate task of arranging her hair.
The scene unfolds within the delicate confines of a hanging scroll, where the figure of the Hell Courtesan, known in Japanese as Jigoku Tayū, emerges from the silk. This work, titled Hell Courtesan, captures a moment of profound stillness and spiritual weight. The artist, Kawanabe Kyōsai, brings this legendary character to life through a composition that balances the elegance of a high-ranking courtesan with the unsettling imagery of the afterlife.…
Painting Party is a traditional Japanese ukiyo-e woodblock print by Kawanabe Kyōsai. The artist, born in 1831 in Koga, Japan, lived until 1889. This work emerged from a life defined by the shifting currents of the Meiji era. It captures a specific moment of social gathering through the precision of the woodblock medium.
Three Kyōgen Dancers (801), Metropolitan Museum of Art, New York. Derefter følger Sketches of East Asian Legendary Figures (801) og Yang Guifei Adjusting her Hair (1850).
Three Kyōgen Dancers, Sketches of East Asian Legendary Figures, Yang Guifei Adjusting her Hair, Yamauba and Kintarō, Hell Courtesan, Frolicking Figures and Animals, Calligraphy and Painting Party, Wisteria Maiden and Demon Priest, Painting Party og Night Procession of One Hundred Demons. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 72 værker af Kawanabe Kyōsai, dateret fra 1850 til 1888.
Primært i Metropolitan Museum of Art (New York), Minneapolis Institute of Art (Minneapolis) og Los Angeles County Museum of Art (Los Angeles). Museumslisten ovenfor viser dem alle.
I 1880s: 52 af de 72 værker på denne side blev skabt dengang, herunder Painting Party.
På denne side er det tidligste Yang Guifei Adjusting her Hair (1850) og det seneste Urashima Tarō Riding on a Tortoise (1888).
Animals (8), Woman (6) og Black ink (6), fordelt på de 72 værker på denne side.
Ink, for 8 af de 72 værker på denne side.
Ukiyo-e, baseret på originalerne på denne side.
Three Kyōgen Dancers, Sketches of East Asian Legendary Figures og Frolicking Figures and Animals: Metropolitan Museum of Art, New York har 48 af værkerne på denne side.
Kawanabe Kyōsai trådte ind i verden i 1831 i Koga, født ind i en samuraifamilie. Hans tidlige år var præget af et pludseligt og visceralt møde med døden, da han som niårig opdagede et menneskehoved, der var skilt fra et lig i Kanda-floden. Dette tidlige chok blev efterfulgt af en formel uddannelse under mestrene fra Kanō-skolen og Utagawa Kuniyoshi. Selvom han mestrede det præcise penselarbejde, som traditionen krævede, søgte hans ånd mod de mere frigjorte stilarter i de populære skoler. Han flyttede til Edo, hvor hans far blev en del af Shogunatets officielle brandkorps, og her begyndte Kyōsai at udvikle den personlighed, der skulle definere hans karriere.
Hans vej var aldrig præget af stille konformitet. Under de politiske skift fra Edo-perioden til Meiji-æraen blev han en figur, der vakte både fascination og friktion. Han blev anholdt tre gange af Shogunatets myndigheder, ofte på grund af det satiriske i hans værker, som hånede regeringsembedsmænd og kritiserede den gældende politik. Disse sammenstød med loven dæmpede ikke hans produktivitet; tværtimod styrkede de hans ry som en uafhængig tænker. Hans kunst afspejlede kaosset i en nation, der transformerede sig fra en feudalt tilstand til en moderne magt.
Kyōsais tekniske dygtighed blev matchet af en vild og udisciplineret energi. Han fik øgenavnet Shuchu gaki, eller "malemonsteret", en titel han omfavnede gennem sin brug af forskellige segl i sine værker. Hans motiver var omfattende og ofte besynderlige, og strakte sig fra det religiøse til det groteske. Han fyldte sine lærreder med dæmoner, skeletter, frøer og dyr, som han ofte gav med menneskelignende humor eller politisk betydning. Et bemærkelsesværdigt langt maleri på en håndrulle, Kampen om prutterne, indfangede sin tids politiske uro gennem ren karikatur.
Hans kreative proces var lige så legendarisk som hans motiver. Det blev sagt, at han kunne male efter en hel nat med drikkevaner, hvor han trådte ind i en tilstand, hvor penslen bevægede sig med instinktiv hastighed. Denne spontane stil, som nogle gange refereres til som kyōga eller "skøre billeder", muliggjorde en flydende streg, der føltes levende. Selvom han besad det tekniske fundament fra Kanō-skolen, lænede hans arbejde sig mod kaos og komik snarere end stille ærefrygt. Han var en dygtig træsnitkunstner, der producerede værker som Kyōsai hyakuzu og forskellige namazu-e-tryk, der vakte stor genklang hos offentligheden.
Ud over sine individuelle malerier bidrog Kyōsai til udviklingen af visuel historiefortælling. I 1874 var han med til at skabe det, der betragtes som det første mangatidsskrift, Eshinbun Nipponchi, sammen med Kanagaki Robun. Selvom udgivelsen kun varede tre numre, repræsenterede den et tidligt forsøg på en ny form for grafiske medier. Hans indflydelse rakte langt ud over Japans grænser, da hans værker fandt vej til samlinger som British Museum og Guimet-museet i Paris. Selv vestlige besøgende, herunder arkitekter som Josiah Conder, dokumenterede hans ekstraordinære evner.
Kunstneren gik bort i 1889 som følge af mavekræft. Han efterlod sig en enorm produktion, anslået til over 10.000 værker, der spænder over tryk, skitser og album. Hans liv var et spejl af den æra, han levede i – turbulent, i overgang og dybt kompleks. Gennem hans blæk fandt overgangen fra middelalderen til et moderne industrisamfund sin mest ekspressive stemme.
