The Illustrious Nobility of the Empire

Toyohara Chikanobu, artist

1838–1912

The Illustrious Nobility of the Empire, 1887, Meiji period (1868–1912)

Where object was made: Japan

Material/technique: color woodcut

Dimensions:
Image Dimensions Height/Width (Height x Width): a 365 x 236 mm
Image Dimensions Height/Width (Height x Width): 14 3/8 x 9 5/16 in
Image Dimensions Height/Width (Height x Width): b 362 x 238 mm
Image Dimensions Height/Width (Height x Width): 14 1/4 x 9 3/8 in
Image Dimensions Height/Width (Height x Width): c 365 x 240 mm
Image Dimensions Height/Width (Height x Width): 14 3/8 x 9 7/16 in
Sheet/Paper Dimensions (Height x Width): a 374 x 249 mm
Sheet/Paper Dimensions (Height x Width): 14 3/4 x 9 13/16 in
Sheet/Paper Dimensions (Height x Width): b 375 x 248 mm
Sheet/Paper Dimensions (Height x Width): 14 3/4 x 9 3/4 in
Sheet/Paper Dimensions (Height x Width): c 373 x 250 mm
Sheet/Paper Dimensions (Height x Width): 14 11/16 x 9 13/16 in
Mat Dimensions (Height x Width): 20 x 36 in

Credit line: Museum purchase: Lucy Shaw Schultz Fund

Accession number: 2006.0034.a,b,c

Not on display

Add to portfolio

If you wish to reproduce this image, please submit an image request

Images

Label texts

Sacred Space and Japanese Art at the Spencer Museum of Art

From right to left, Toyohara Chikanobu illustrates Emperor Meiji (Mutsuhito), Prince Yoshihito (future Emperor Taishō), and Empress Haruko (Masako) in three separate prints. With a short haircut and modern Western dress, the Emperor and his family show a highly Westernized lifestyle unlike their figures in Japanese-style portraits. Set against the background of an elaborately decorated interior of royal space, the chrysanthemums on the curtain behind the family symbolize imperial heritage. This print was intended to promote Westernization by showing the Imperial family in a modern Western style.
Before the end of the Pacific War (1939–1945), Japanese Emperors were considered to be living gods. To maintain his divinity, this divine leader, his palace, and his loyal attendants were completely veiled to the public. During the Meiji Restoration, the Emperor encouraged the Japanese people to accept Western culture and knowledge, as he believed it would enhance Japan’s strength and position in the world. This triptych promotes Western enlightenment by depicting imperial life surrounded by Western culture, exemplified by hardcover books. Like European monarchs, the Emperor had his portrait mass-produced to demonstrate his active attitude toward Westernization. This illustration is important because it publicizes the divine leader and his sacred life, which would have shocked commoners of earlier times.
Text by Eunho Park