Ichiyuusai Kuniyoshi - Ichiyuusai Kuniyoshi

...But as time went on, craftsmen such as roofers, fishmongers, palanquin carriers, boatmen and other courageous people competed to have carvings done, to show their strength rather than their style or dignity. Designs became more abundant, colors were used and specialized carvers were born. This trend was strengthened by a series of works by artist Ichiyusai Kuniyoshi based on the theme of "Suikoden", and carvings were extremely popular during the Bunka and Bunsei eras (1804-1830) despite the shogunate's ban. Yoshitoshi's works, which inherited the style of Kuniyoshi, who perfected the beauty of tattooing in the Edo period, especially "Binan Suikoden", had a great influence as the preliminary designs for tattoos after the Meiji period. ...

*Some of the terminology used to refer to "Ichiyusai Kuniyoshi" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…しかし時代がくだると，鳶（とび），魚屋，駕籠（かご）かき，船頭などの職人や勇み肌の者が粋や伊達（だて）から威勢を示すために競って彫物を施し，また絵柄も豊富となり，色彩を施すようになって専門の彫師も生まれた。こうした風潮を強めたのは，《水滸伝》を題材にした絵師の一勇斎国芳の一連の作品で，文化･文政年間(1804‐30)には幕府の禁止にもかかわらず彫物は盛行を極めた。また江戸の刺青美を完成した国芳の画風を継承した芳年の作品，とくに〈美男水滸伝〉は明治以後の刺青の下絵として大きな影響を与えた。…

※「一勇斎国芳」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報