Artwork

西国鎮静撫諸将天杯賜之図|Illustration of the Commanders who Pacified Western Japan, Receiving the Emperor's Gift Cups (Saigoku chinbu shoshō tenpai o tamau no zu)

西国鎮静撫諸将天杯賜之図|Illustration of the Commanders who Pacified Western Japan, Receiving the Emperor's Gift Cups (Saigoku chinbu shoshō tenpai o tamau no zu), by Yōshū (Hashimoto) Chikanobu, ink, 1877
西国鎮静撫諸将天杯賜之図|Illustration of the Commanders who Pacified Western Japan, Receiving the Emperor's Gift Cups (Saigoku chinbu shoshō tenpai o tamau no zu), by Yōshū (Hashimoto) Chikanobu, ink, 1877

西国鎮静撫諸将天杯賜之図|Illustration of the Commanders who Pacified Western Japan, Receiving the Emperor's Gift Cups (Saigoku chinbu shoshō tenpai o tamau no zu) is an ink print by the Impressionist artist Yōshū (Hashimoto) Chikanobu. It dates from 1877 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Illustrated by Yōshū Chikanobu in 1877, this multicolored woodblock print measures a single sheet of paper and depicts three simultaneous scenes related to the imperial bestowal of ceremonial cups. The work is part of the Metropolitan Museum of Art’s collection and exemplifies the late‑Edo/early‑Meiji period’s interest in historicized narrative prints.

Subject & Meaning

The rightmost image presents a banquet table laden with food and flowers, emphasizing the celebratory nature of the event.

The composition records the presentation of imperial cups to commanders credited with pacifying western Japan. In the left panel a kneeling figure in a vivid red robe receives a golden cup, while the central scene shows a gathering before a red‑tiled, white‑washed structure, suggesting an official ceremony. The rightmost image presents a banquet table laden with food and flowers, emphasizing the celebratory nature of the event.

Technique & Style

Executed with traditional ukiyo‑e woodblock methods, the print combines black outlines with bright pigments applied in flat, saturated areas. The use of patterned kimono fabrics and stylized architecture reflects Chikanobu’s characteristic blend of realism and decorative flourish, while the clear division into three narrative zones demonstrates a compositional strategy common to Meiji‑era illustrated histories.

History & Provenance

Created during a period of rapid modernization, the print was likely produced for a popular audience interested in recent military achievements. It entered the Metropolitan Museum of Art’s collection through a 20th‑century acquisition of Japanese prints, where it remains catalogued under the artist’s name, Yōshū (Hashimoto) Chikanobu, and the title illustrating the imperial gift ceremony.

Artist & collection