() is a series of ten Japanese woodblock prints in ink and color on paper made by artist Utagawa Kuniyoshi (1798–1861). It was released by publisher Iseya Rihei in 1835–1836. The prints, which are in the large, horizontal, multi-colored woodblock format, tell the story of Nichiren (1222–1282), a Japanese Buddhist priest, philosopher and founder of Nichiren Buddhism. Kuniyoshi's series reveals the influence of artist Kawamura Bunpō from the Kishi school of painting.
In the Snow at Tsukahara, Sado Island, is generally considered the greatest work in the entire series. There are four known variations of this print—two with a horizon line and two without. The original ten prints are believed to have been used to illustrate Buddhist teaching materials and are part of an ancient illustrated literary tradition ascribed to Buddhist printmaking. Sketches of the Life of the Great Priest is one of five separate series of prints by Kuniyoshi focused on the theme of religion. It represents Kuniyoshi's eleventh major work since 1820 and roughly his 180th to 190th individual work. In total, he produced around 1,000 works, including variants, duplicates, and multiple individual pieces within a single series.
Background Utagawa Kuniyoshi (1798–1861) is best known for , a genre of woodblock printing that depicts warriors from history and mythology. His late 1820s , 108 Heroes of the Suikoden, is cited as the breakthrough work that established his name and contributed to his first major success.Yonemura, Ann (2002). Masterful Illusions: Japanese prints in the Anne Van Biema collection. Smithsonian Institution. University of Washington Press. p. 30, 44, 122, 190, 194. . . Before becoming a master of , Kuniyoshi made an attempt at (depictions of kabuki actors), but was unable to achieve any fame or notability in that genre. Secondarily, Kuniyoshi was known for (pictures of beautiful women) and for landscapes.Hartley, Craig (1997). Prints of the Floating World: Japanese Woodcuts from the Fitzwilliam Museum, Cambridge. Fitzwilliam Museum in association with Lund Humphries Publishers. p. 114. . . The landscape genre in became popular in the 1830s and 1840s, particularly as expressed in the style and work of Kuniyoshi's colleague Hiroshige (1797–1858), both of whom were students of the Utagawa school. Kuniyoshi's , or art name, "kuni", derives from a syllable of his master's , Utagawa Toyokuni (1769–1825).Marks, Andreas (2010). Japanese Woodblock Prints: Artists, Publishers, and Masterworks 1680–1900. Tuttle Publishing. p. 13. . . Kuniyoshi's landscapes in the 1830s and 1840s were partly influenced by his knowledge of European art and his collection of Western-style prints.
Kuniyoshi received a commission in 1831 for a new print series in remembrance of the 550-year anniversary of the death of Nichiren (1222–1282), the founder of Nichiren Buddhism. The finished prints show creases down the middle, indicating they were originally folded into Nichiren Buddhist religious materials. East Asian art historian Mary W. Baskett notes the long, ancient tradition of Buddhist printmaking, tracing woodblock printing traditions in Japan back to Buddhist devotional rituals.Baskett Mary. W. (1980). Footprints of the Buddha: Japanese Buddhist Prints from American and Japanese Collections. Philadelphia Museum of Art. p. 72, 85–89. . . The custom of depicting the life of Nichiren in Japanese art was also already well established before Kuniyoshi began his new project. One popular example, The Life of the Priest Nichiren, was a woodblock print produced during the Tenna period (1611–1684), illustrating 17 events in Nichiren's life. It was likely used by religious adherents as a kind of reference work. Nichiren shonin chugwasan, a similar work depicting 89 images of Nichiren's life, was published in 1632.Seidlitz, Woldemar von (1910). A History of Japanese Colour-Prints. William Heinemann. p. 51, 188. . The theme continued during the subsequent Edo period, with another version illustrating 28 images from the life of Nichiren. During the Edo period, the need for printed religious materials increased in use for the purpose of teaching, with Kuniyoshi's work a notable example during this era, along with the older Illustrated Life of Kobo Daishi (early 17th century), depicting the life of Kūkai (774–835), founder of Shingon Buddhism, and the later Illustrated Life of Sakyamumi Buddha (1845) by Hokusai (1760–1849). After Kuniyoshi died, his ashes were interred at the Daisenji temple, a 16th-century Nichiren Buddhist temple in Kodaira, Tokyo.Schaap Robert. (1998). Heroes & Ghosts: Japanese Prints by Kuniyoshi, 1797–1861. Hotei Publishing. pp. 8, 30, 187. . .
Development Instead of drawing upon the older styles of well known works depicting Nichiren, Kuniyoshi's Sketches of the Life of the Great Priest shows the influence of the Kishi school, particularly the work of Kawamura Bunpō (河村文鳳) (1779–1821) as found in his (picture album),King James. (2010). Beyond the Great Wave: The Japanese Landscape Print 1727–1960. Peter Lang. pp. 85–86. . . a landscape painting manual known as (A Book of Drawings of Landscapes by Bunpō). Kuniyoshi's new approach emphasized a connection between the larger figures in the foreground against the landscape in the background. Sketches of the Life of the Great Priest was an example of this new perspective, using the historical figure of Nichiren to demonstrate Kuniyoshi's new technique.Paine, Robert Treat; Alexander Soper. (1981). The Art and Architecture of Japan. 3rd ed. Yale University Press. pp. 122, 253, 272. . . Art historian Woldemar von Seidlitz (1850–1922) described Kuniyoshi's approach to landscape as having a "strength and grandeur of style that gives him a place perhaps even higher than Hiroshige".
Series Kuniyoshi's Sketches of the Life of the Great Priest is one of five separate series of prints focused on the theme of religion. In addition to the life of Nichiren depicted in the Sketches, Kuniyoshi's other religious series covers the Tenno Festival, Otake Dainichi Nyorai, the Seven Lucky Gods, and a miscellaneous assortment depicting Japanese folklore and legendary Buddhist figures.Pearl, William (2025). "Religious Prints". Kuniyoshi Project. Retrieved March 31, 2025. Sketches represents his eleventh major work since 1820 and approximately his 180th to 190th individual work in total. His entire oeuvre comprises around 1,000 works, including many variants, duplicates, and individual pieces within a single series. The prints are listed in chronological order of the life of Nichiren.Keyes, R. S. (1984). Japanese Woodblock Prints: A Catalogue of the Mary A. Ainsworth Collection. Allen Memorial Art Museum Oberlin College. Indiana University Press. pp. 9–11, 189. . . Kuniyoshi presents romanticized illustrations and legendary accounts of events in Nichiren's life. The title of the series appears on the right margin in red with the mark of the publisher Iseya Rihei (Ise-Ri Kinjudo), while the subtitle appears in black below it. The prints are signed 朝櫻楼 / 国芳画 (Chooro / Kuniyoshi ga).Binyon, Laurence (1916). A Catalogue of Japanese & Chinese Woodcuts Preserved in the Sub-department of Oriental Prints and Drawings in the British Museum. British Museum. Dept. of Prints and Drawings. Printed by Order of the Trustees. pp. 536–538. . An approval stamp (kiwame) by the censor is also shown.Forrer, Matthi (1994). The Baur Collection: Japanese Prints. Collections Baur. pp. 57-68. . . There are ten prints in the entire series, each of which is in the large, format of 10 by 14 inches (25 by 36 centimeters), in a horizontal or landscape orientation, printed with multi-colored or woodblocks. The series is referred to by many names, the result of various English translations, with Illustrated Abridged Biography of the Founder one of the more popular titles.
1. Tōjō Komatsubara, Eleventh day of Eleventh month, 1264
Tōjō Komatsubara, Eleventh day of Eleventh month, 1264 (文永元十一月十一日東條小松原) depicts Tōjō Kagenobu and his warriors, including horsemen and swordsmen, who ambush Nichiren at Komatsubara in the Awa Province in November 1264. Nichiren is shown holding up his (rosary), whose sparkling crystals confuse his attackers. Nikkyo, his student, is seen in the background, crouching.Robinson, B. W. (1982). Kuniyoshi: The Warrior-Prints. Phaidon Press. pp. 10, 107. . .
In 1253, Nichiren famously criticized Pure Land Buddhism (Amidism) by proclaiming the superiority of the Lotus Sutra. Nichiren was trained in the Tendai school, which believed in the central importance of the Lotus Sutra teaching. Ten years later, Tōjō Kagenobu and his warriors, supporters of Pure Land, tried to assassinate Nichiren at Matsubara in Tōjō. According to legend, two of Nichiren's supporters died in the attack and Nichiren himself was cut by a sword on his head and suffered a broken hand. Nichiren Buddhists refer to the event depicted by Kuniyoshi as the "Komatsubara Persecution".Stone, Jacqueline I. (January–March 2014). "A Votary of the Lotus Sutra Will Meet Ordeals: The Role of Suffering in Nichiren's Thought". Dharma World. pp. 30–37. .
2. Praying for Rain at Reizen-ga-saki
Praying for Rain at Reizen-ga-saki (文永八鎌倉霊山ヶ崎雨祈) shows a stormy sea with Nichiren up above praying at an altar with his (rosary) under an umbrella; his prayers appear to be answered by a downpour.
Japan experienced a major drought in the summer of 1271. The government asked Ninshō (1217–1303), the first chief priest of Gokurakuji, to conduct rain rituals. Nichiren, then a lowly monk, criticized Ninshō's supporters, wagering that even he would follow Ninshō if he made it rain in a week. It did not rain, and Nichiren took advantage of the challenge to take on new followers for himself. Baskett notes that the romanticized legendary history depicted in the image might have been added after Nichiren died, although previous artists had also illustrated the "miracle" in the 17th century.
3. Threatened at Tatsunokuchi in Sagami Province
Threatened at Tatsunokuchi in Sagami Province (相州竜之口御難) depicts Nichiren in prayer, kneeling beside a pine tree by the ocean. He is about to be executed at Tatsunokuchi when the rays from the sun destroy the executioner's sword, averting his death.
Nichiren's incessant attacks on the other Buddhist schools led to Hōjō Tokimune, the de facto ruler of Japan, exiling him to the Izu Peninsula in 1261, which only lasted a few years. Continuing his attacks, Nichiren's enemies obtained the help of the Kamakura shogunate who plotted to behead him. He was brought to Takinoguchi beach at Shichirigahama for the execution, legends recount, but as the sword was about to come down on his neck, it broke in half, with various other supernatural accounts alleged to have occurred to prevent and forestall his death.Joly, Henre L. (1908), Legend in Japanese Art. John Lane Company. pp. 248-250. .
4. The Star of Wisdom Descends on the Thirteenth Night of the Ninth Month
The Star of Wisdom Descends on the Thirteenth Night of the Ninth Month (九月十三夜依智星) shows Nichiren standing before a plum tree with his rosary, facing the ghostly appearance of the Buddha above the tree.