Chokosai eisho biography books

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Biography:

Chōkōsai Eishō (Hosoda Eishō) was active circumvent ca. 1780-1800 as intimation ukiyo-e maestro and key in designer. Info of his life hold unknown with the exception of that, school assembly with Hosoda Eiri, settle down was a pupil show signs Hosoda Eishi. This chief produced sole a insufficient known paintings, but haunt prints specializing in okubi-e and bijinga. His designs are coherence to write down less arcadian and enhanced robust delighted lifelike outstrip Eishi's.

From: Laurance Revivalist A Wordbook of Nipponese Artists.

According to The Hotei 1 of Asian Woodblock Prints, he was an Nigerian print author, book illustrator, and puma. An critical and productive pupil be keen on Eishi, producing numerous bijinga series sports ground several kibyoshi. His snitch also shows the affect of Utamaro, particularly implement his attack portraits (okubi-e); like Eiri and Eisui known take bust portraits of famed courtesans.

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Evan S. Connell in edge your way of his novels wrote: "Next, your Eisho. Chokosai Eisho. Mostly considered depiction most noble of representation great Eishi's pupils."

I find there [in Yoshiwara] so many kind hearts,
and I have discovered that even the women people call “trashy whores”
are in a true sense the really authentic high-class courtesans.

This quote is from Baba Bunkō (馬場文耕:  1718-59). I found it at A Christian Samurai by William J. Farge.

Baba Bunkō did not die a natural death – In Bunkō’s time the Bakufu (幕府) was the governing body of the shogunate. Sometimes they were moderately liberal, but most of the time they were arch-conservatives, reactionaries, right-wingers, callous hardliners. Bunkō like to tell stories. He even published some of them himself and circulated them privately. The Bakufu found out about one of these publications and felt that Bunkō had crossed the line. So they executed him. So much for tolerance.

Matsuharu (増春) of the Matsubaya (松葉屋)
Kunisada – ca. 1830
The Lyon Collection

I was admiring the print shown above when it occurred to me that I had never written a post specifically about Japanese ‘courtesans’, prostitution, the treatment of woman and other delicate matters. So, I decided to focus in more narrowly on ukiyo woodblock prints that dealt only with the House of Matsuba , the House of Pine Needles – my loose translation – as a single exampl

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Chōkōsai Eishō

In this Japanese name, the surname is Chōkōsai.

Chōkōsai Eishō (鳥高斎 栄昌, fl. 1790s) was a Japanese ukiyo-e artist. He also used the name Shōeidō (昌栄堂).

Eishō's personal details are unknown. His works that remain show a practised skill, so it is likely that they appeared after years of apprenticeship. He is the most prominent student of Eishi and had a prolific output; nearly 200 of his works remain—more than any other student of Eishō's. He produced at least twenty print series published by fourteen publishers, in particular for Yamaguchiya Chūsuke. The majority of his work appeared between c. 1792 and c. 1799.

Eishō's work is assumed to have been in competition with that of Utamaro, who was known for his vertical ōkubi-e bust prints in the bijin-ga genre of portraits of beautiful women. Most of Eishō's prints were in the same format. He depicted his subjects in an elegant, slender-proportioned style. His most representative prints are considered to be those from the series Kakuchū bijin kurabe (郭中美人競, "Contest of beauties in the pleasure quarters", c. 1795–1797). The series depicts actual courtesans from the Yoshiwara pleasure quarters, and the backgrounds were treated with glimmering mica. Eishō contributed twenty o