Who painted 御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu)?

御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu) was painted by Utagawa Kunitoshi in 1889.

Where can I see 御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu)?

御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu) is held by Metropolitan Museum of Art.

What movement is 御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu)?

御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu) is associated with Impressionism.

Artwork

御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu)

Utagawa Kunitoshi , 1889

御鳳輦之図|Illustration of the Imperial Carriage (Gohōren no zu) is an ink print by the Impressionist artist Utagawa Kunitoshi. It dates from 1889 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

The work is part of The Metropolitan Museum of Art’s collection, preserved as an example of late 19th-century ukiyo-e craftsmanship.

Created in 1889 by Utagawa Kunitoshi, this woodblock print is one panel of a triptych depicting an imperial procession. Rendered in ink and color on paper, it was produced during the Meiji period, a time when traditional Japanese subjects were often reimagined through the lens of modern printmaking. The work is part of The Metropolitan Museum of Art’s collection, preserved as an example of late 19th-century ukiyo-e craftsmanship.

Subject & Meaning

The central image portrays a red-lacquered imperial carriage, adorned with gold details, carried by attendants under a canopy. Soldiers in dark uniforms with red accents lead the procession, followed by bearers holding banners and poles. The figure within the carriage, though minimally rendered, signifies imperial presence. The orderly formation and ceremonial elements suggest a state ritual, likely commemorating an imperial event during Japan’s rapid modernization.

Technique & Style

Kunitoshi employed precise linework and flat areas of color typical of ukiyo-e, with bold outlines defining figures and structures. The palette features vivid reds, golds, and deep blacks, contrasting against muted backgrounds. Perspective is stylized rather than linear, emphasizing symbolic hierarchy over realism. The composition balances movement and stillness, guiding the eye toward the carriage as the visual and ceremonial focal point.

History & Provenance

The print was produced in 1889, near the end of Kunitoshi’s career, during a period when woodblock printing faced competition from photography and Western-style art. It was likely commissioned for public distribution, reflecting continued interest in imperial imagery despite societal changes. The Metropolitan Museum of Art acquired it as part of its broader collection of Japanese prints, preserving its historical and artistic context.

Context

In Meiji-era Japan, traditional court rituals were being revived as symbols of national identity amid Western influence. This print aligns with a broader trend of depicting imperial ceremonies to reinforce cultural continuity. While Western techniques influenced Japanese art, Kunitoshi maintained classical ukiyo-e conventions, bridging historical themes with contemporary print culture.

Legacy

Though Kunitoshi is less widely known than contemporaries like Hiroshige or Kunisada, this work exemplifies the endurance of ukiyo-e into the late 19th century. The triptych serves as a visual record of imperial pageantry during a transformative era, offering insight into how tradition was visually sustained amid modernization. It remains a reference for scholars studying the intersection of ceremony and print in Meiji Japan.