Dong Yong (Toei), from the series "Twenty-four Paragons of Filial Piety as a Mirror for Children (Nijushiko doji kagami)"

Art Historical Context

In the vibrant world of 19th-century Japanese ukiyo-e, Utagawa Kuniyoshi's *Dong Yong (Toei)* from the series *Twenty-four Paragons of Filial Piety as a Mirror for Children* (. 1843) stands as a captivating woodblock print. This oban-sized color woodblock (24.7 × 364 cm) depicts the legendary Chinese tale of Dong Yong, a devoted son who sold himself into servitude to afford a proper burial for his father. Kuniyoshi, renowned for his dynamic warrior prints and imaginative compositions, here adapts Confucian moral stories into accessible visuals for young audiences, blending drama with ethical instruction. Printed during Japan's Edo period, when woodblock techniques allowed mass production of affordable art, this piece exemplifies ukiyo-e's mastery: intricate carving for bold colors and fine lines, layered pigments for depth, and expressive figures that evoke emotion. The series drew from ancient Chinese exemplars of filial piety—xiao—a core Confucian virtue emphasizing family loyalty, which resonated deeply in Japanese society to instill values in children amid rapid urbanization. Kuniyoshi's flair shines in the print's theatrical energy, likely portraying Dong Yong's miraculous aid from a heavenly weaver girl, making morality both entertaining and memorable. Housed in the Art Institute of Chicago's Arts of Asia department, it invites visitors to ponder timeless themes of sacrifice and reward through exquisite craftsmanship.

About the Artist

Utagawa Kuniyoshi · 1797–1861

Utagawa Kuniyoshi (1797–1861) was born in Edo to the silk-dyer Yanagiya Kichiyemon, originally bearing the childhood name Yoshisaburō. From a young age, he assisted in his family's pattern design work, which sharpened his innate mastery of color and textile motifs that would permeate his later prints. At around twelve years old, his prodigious drawing skills drew the attention of the renowned Utag...