Devil Priest
woodblock print by Matahei (early 18th century); printed from re-carved blocks probably early 20th century; from my collection.
A devil as an itinerant priest in the Otsu-e style. This design was pasted inside houses for protection. Oban tate-e (24.5 x 44.0 cm).
From the Mingeikan Folk Crafts Museum description of Otsu-e:
"The name otsu-e is derived from the place where these paintings were sold, in and around the post town of Otsu, which lay on the Tokaido Road running between Edo (present day Tokyo) and Kyoto. Stands were set along the road to sell these paintings as souvenirs to passing travelers. Created by anonymous artists, the paintings were sold in great numbers for little money.
Some of the first otsu-e were created during the Kanei Era (1624-44) following the early Edo persecution of Japanese Christians. The artwork provided an inexpensive source of Buddhist art that could be displayed in the homes of commoners who feared retribution from the authorities, and needed proof of their devotion to Japanese religious beliefs.
By the end of the Genroku Era (1688-1704), otsu-e had become so popular that their themes were expanded to include depictions of secular subjects, such as beautiful women, courtesans, heroes, animals and mythical goblins. "
Devil Priest
woodblock print by Matahei (early 18th century); printed from re-carved blocks probably early 20th century; from my collection.
A devil as an itinerant priest in the Otsu-e style. This design was pasted inside houses for protection. Oban tate-e (24.5 x 44.0 cm).
From the Mingeikan Folk Crafts Museum description of Otsu-e:
"The name otsu-e is derived from the place where these paintings were sold, in and around the post town of Otsu, which lay on the Tokaido Road running between Edo (present day Tokyo) and Kyoto. Stands were set along the road to sell these paintings as souvenirs to passing travelers. Created by anonymous artists, the paintings were sold in great numbers for little money.
Some of the first otsu-e were created during the Kanei Era (1624-44) following the early Edo persecution of Japanese Christians. The artwork provided an inexpensive source of Buddhist art that could be displayed in the homes of commoners who feared retribution from the authorities, and needed proof of their devotion to Japanese religious beliefs.
By the end of the Genroku Era (1688-1704), otsu-e had become so popular that their themes were expanded to include depictions of secular subjects, such as beautiful women, courtesans, heroes, animals and mythical goblins. "