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political ferment which produced and followed the revolution of 1867, Kyosai attained a considerable reputation as a caricaturist. He was three times arrested and imprisoned by the authorities of the shogunate. Soon after the See also:

ASSUMPTION, FEAST OF

assumption of effective See also:

POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power by the See also:

MIKADO (Japanese for " exalted gate ")

mikado, a See also:

GREAT

great See also:

CONGRESS (Lat. congressus, coming together, from congredi; cum, with, and gradus, step)

congress of painters and men of letters was held, at which Kyosai was See also:

PRESENT

present. He again expressed his See also:

OPINION (Lat. opinio, from opinari, to think)

opinion of the new See also:

MOVEMENT

movement in a See also:

CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature, which had a great popular success, but also brought him into the hands of the See also:

POLICE (Fr. police, government, civil administration, a police force, Gr. sroXumeia, constitution, condition of a state, roars, city, state)

police—this time of the opposite party. Kyosai must be considered the greatest successor of See also:

HOKUSAI (r 76o–1849)

Hokusai (of whom, however, he was not a See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil), and as the first political caricaturist of Japan. His See also:

WORK

work—like his See also:

LIFE

life—is somewhat See also:

WILD, JONATHAN (c. 1682-1725)

wild and undisciplined,and "occasionally smacks of the See also:

SAKE

sake See also:

CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup." But if he did not possess Hokusai's dignity, power and reticence, he substituted an exuberant See also:

FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy, which always lends See also:

INTEREST

interest to draughtsmanship of very great technical excellence. In addition to his caricatures, Kyosai painted a large number of pictures and sketches, often choosing subjects from the folk-See also:

lore of his See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country. A See also:

FINE

fine collection of these See also:

WORKS

works is preserved in the See also:

BRITISH

British Museum; and there are also See also:

GOOD, JOHN MASON (1764-1827)

good examples in the See also:

NATIONAL

National See also:

Art Library at See also:

South See also:

KENSINGTON

Kensington, and the Musee See also:

GUIMET, JEAN BAPTISTE

Guimet at See also:

Paris. Among his illustrated books may be mentioned Yehon Taka-kagami, Illustrations of See also:

HAWKS, FRANCIS LISTER (1798-1866)

Hawks (5 vols., 1870, &c.); Kyosai Gwafu (188o); Kyosai Dongwa; Kyosai Raku-gwa; Kyosai Riaku-gwa; Kyosai Mangwa (1881); Kyosai Suigwa (1882); and Kyosai Gwaden (1887). The latter is illustrated by him under the name of Kawanabe Toyoku, and two of its four volumes are devoted to an See also:

account of his own art and life.

He died in 1889. See Guimet (E.) and Regamey (F.), Promenades japonaises (Paris, 1880) ; See also:

Anderson (W.),See also:

CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue of Japanese See also:

PAINTING

Painting in the British Museum (See also:

LONDON

London, 1886) ; See also:

MORTIMER (Family)

Mortimer Menpes, " A See also:

PERSONAL

Personal View of Japanese Art: A See also:

LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

Lesson from Kyosai," See also:

MAGAZINE

Magazine of Art (1888). (E. F.

End of Article: KYOSAI

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