Yu Qianlou (Jp: Yu Kinro), from the series "Twenty-four Paragons of Filial Piety (Nijushiko)"

Art Historical Context

Discover the poignant tale of Yu Qianlou (Yu Kinro in Japanese) in this exquisite color woodblock print by Totoya Hokkei, around 1825. Part of the series *Twenty-four Paragons of Filialiety (Nijushiko)*, it draws from a revered Chinese moral anthology that celebrates extreme acts of devotion to one's parents—core Confucian values that resonated deeply in Edo-period Japan. Hokkei, a skilled pupil of the master Katsushika Hokusai, captures Yu Qianlou's legendary sacrifice with delicate precision, rendering the intimate square shikishiban format ideal for private appreciation. This surimono, a luxurious privately commissioned print often produced for New Year's greetings or poetic gatherings, showcases advanced woodblock techniques: vibrant colors layered through multiple carved blocks, subtle mica dusting for shimmer, and embossing for texture. Measuring just 20.6 × 18.3 cm, its compact size belies its cultural weight, serving as both art and ethical instruction amid Japan's ukiyo-e "floating world" tradition. Housed in the Art Institute of Chicago's Arts of Asia department, Hokkei's work exemplifies how surimono elevated woodblock printing from mass production to bespoke artistry, blending storytelling with technical virtuosity to inspire filial reverence across generations. A gem for reflecting on timeless family bonds!

About the Artist

Totoya Hokkei · 1780–1850

Totoya Hokkei (魚屋 北渓, 1780–1850), born Iwakubo Tatsuyuki in Edo (modern Tokyo), began his life as a humble fishmonger in the Yotsuya Samegahashi district, a trade reflected in his art name "Totoya," meaning fish shop. He transitioned to art through rigorous training, first studying under Kanō Yōsen'in Korenobu, head of the Kobikichō branch of the prestigious Kanō school, where he honed landscape p...