偉人・敗北からの教訓 2025年1月25日 第77回「喜多川歌麿・江戸幕府の怒りを買った浮世絵師」
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00:00The victory was a coincidence, but the defeat was inevitable.
00:07How did the artists who colored the history of Japan lose?
00:13What was the cause and mistake behind it?
00:18This time, we will focus on the defeat of the artist Utamaro Kitagawa,
00:24who was the pinnacle of the ukiyo-e world with his beautiful Okubie.
00:28A combination of Kitai's main producer Tsutajyu,
00:32he made hits one after another, but there was no bloodshed.
00:38What was the last stubbornness of the artist who continued to resist the regulations of the shogunate?
00:48Life philosophy learned from the failures of the defeated.
00:53Lessons from the Defeated Artists
01:03What do we learn from the failures of the artists in history?
01:09I'm Yuri Nakanishi, the host of the program.
01:14And I'm Jun Ito, a historian.
01:17Thank you for joining us today.
01:19Last time, we focused on the defeat of Tsutaya Juzaburo,
01:24but there were a lot of unique creators in Edo at that time.
01:28There were a lot.
01:30Originally, Edo did not have its own culture.
01:34The trend of Tsutaya was to establish their identity.
01:40That was the basis.
01:42Ukiyo-e, based on Nishikei, became a big trend.
01:47That's why Edo culture flourished.
01:49This person also seems to have a strong habit.
01:53This time, I would like to focus on the defeat of Ukiyo-e, Kitagawa Utamaro,
01:58who won the battle with Tsutaya Juzaburo.
02:03Utamaro is the founder of Ukiyo-e in Katsushika, Hokusai, Utagawa, and Hiroshige.
02:11Utamaro appeared in the world as a tag team with Tsutaya Juzaburo.
02:16How long did the relationship last?
02:19The relationship lasted from 1783 to 1793.
02:27It was about 10 to 11 years.
02:29It's surprisingly short.
02:31So they didn't form a tag team for a long time.
02:34Why did they break up?
02:36It's a bit of a mystery.
02:38This time, I would like to look for a lesson in order to live tomorrow
02:42while unraveling the defeat of Kitagawa Utamaro.
02:45First, let's look back at the life of Kitagawa Utamaro.
02:48Please take a look.
02:51Kitagawa Utamaro, known as the master of beauty painting,
02:56was born in Edo in 1753.
03:02Utamaro's youth was a time when various cultures and arts
03:06flourished by the commercial policy of Okitsugu Tanuma,
03:11the head of the Shogunate.
03:14Ukiyo-e, also known as Nishiki-e, was born around this time
03:19and spread rapidly.
03:22In the meantime, Utamaro enrolled in Sekien Toriyama,
03:26a painter of the Kano family,
03:30and made his debut in the name of Kitagawa Toyoaki around 1770.
03:36It was Tsutaju, also known as Tsutaya Juzaburo,
03:40who found Utamaro struggling with difficulty.
03:48Tsutaju made Utamaro live in his own shop
03:51and made him name Kitagawa, which was his own name.
03:57In 1788, Utamaro and Tsutaju became a couple
04:03and succeeded in making enhanced paintings such as Ehon Mushierami,
04:08which became a hit one after another.
04:12However, when the reform of Kansei began by the old beast Matsudaira Sadanobu,
04:18the publishing house was strictly regulated,
04:21and Tsutaju, a business partner, also lost a lot of property.
04:29Even so, Utamaro again teamed up with Tsutaju
04:33and created a new genre called Mijin Okubie,
04:37which recorded a huge hit before the wind.
04:40He suddenly became the first person to make a beautiful painting.
04:45However, when Tsutaju sold his paintings to Toshusai Sharaku,
04:49there was a crack in their relationship,
04:52and Tsutaju's death prevented them from getting married.
05:00Even after that, Utamaro,
05:02while fighting against the regulations of the government
05:05and his own ideas and lack of painting power,
05:08announced his work vigorously,
05:11but he was eventually banned from painting Mijin Okubie,
05:14and fell into a dilemma.
05:17Then, in 1804,
05:20Nishikie, the founder of Taikokyo,
05:22touched on the banning of Wakfu,
05:25and Utamaro was punished on the 50th day of Tejo
05:28after a tough investigation.
05:33It was the moment of Utamaro's defeat.
05:37This time, Utamaro's own pride
05:39forced him to fight against the regulations of Wakfu,
05:42and Utamaro Kitagawa was defeated.
05:49Now, let's take a look at the main events of Utamaro Kitagawa's life.
05:54Utamaro's master was one of the most influential people in Japan.
06:00Yes, he was. His name was Sekien Toriyama.
06:04Sekien Toriyama did not draw beautiful women or actors
06:09as his main job.
06:12He drew Yagio Emaki, a famous yokai painting.
06:17Shigeru Mizuki and others highly praised his work.
06:21However, Utamaro's works were not influenced by Kano.
06:25Yes.
06:26In fact, Utamaro's works were influenced by
06:30Shunsho Tsukaha, Shigemasa Kitao, and Kiyonaga Torii.
06:35However, Utamaro did not stand out for a long time.
06:39Why?
06:40It was the fate of the school at that time.
06:43At that time, the school was under the master.
06:46They drew the portrait of the master,
06:49and they also did rough reading at the studio.
06:53It was a time when the level of education was normal.
06:56However, when Utamaro was young, it was quite natural to be a draftsman.
07:00Utamaro was lucky to be in a famous studio called Tsutaya.
07:06I see.
07:08What kind of drama was there until Utamaro, who had been a draftsman for a long time,
07:13met Tsutaya and reached the top of the Ukiyo-e world?
07:16And why did that relationship last?
07:19Please take a look at this.
07:22In 2016, in Paris, France,
07:25there was an event that caused a stir in the art world.
07:30Utamaro Kitagawa's Ukiyo-e,
07:32a deep-hidden love,
07:34was the best-selling painting in Japan at that time.
07:38It was sold for about 88 million yen.
07:45The beautiful painting drawn by Utamaro in the Edo period
07:48was something that ordinary people could easily buy and enjoy.
07:52Where is the charm of Utamaro's work that attracts people?
07:59I asked Tanabe, who is engaged in research on Ukiyo-e.
08:05When it comes to beautiful painting, it is beautiful.
08:09It is beautiful in a general way.
08:14When it comes to Utamaro,
08:17I think he was a talented artist who could observe and express
08:23the truth of a woman as a living person.
08:34Utamaro was born in the middle of the Edo period.
08:40In Edo at this time,
08:42samurai with economic power were also added,
08:46and a new culture beyond status was about to be born.
08:52When Utamaro was a boy,
08:54he started training at Toriyama Sekien in Edo City.
09:00It is also said that he was separated from his parents and abducted.
09:06Sekien published Utamaro as a boy.
09:12When Utamaro was a child, he was meticulous in everything.
09:16He was passionate about playing with sticks and crickets.
09:23It seems that Utamaro had a fine sense of observation of living things.
09:30After that, when Utamaro became a painter,
09:33he was entrusted with the illustration of reading books.
09:36He spent a training period of about 10 years in his 20s.
09:44At that time, in Edo,
09:46painters who drew colorful and beautiful paintings
09:49were gaining popularity in Nishiki-e.
09:56Especially, Torii Kiyonaga of the same age as Utamaro
10:00painted a beautiful painting of Hattoshin,
10:04which idealized the beauty of women.
10:09On the other hand, even in his 30s,
10:13Utamaro could not create a representative work.
10:19At that time, Utamaro met a person who changed his life.
10:26He was Tsutaju, also known as Tsutaya Juzaburo.
10:31At that time, Tsutaju was the founder of the publishing house,
10:36Fuuunji, which was creating a new culture from Yoshihara Yuukaku.
10:41Tsutaju reached out to Utamaro,
10:44who was worried about him,
10:47and made him live in his own shop.
10:52Mr. Yamamura, a historian and painter,
10:55talks about the relationship between Utamaro and Tsutaju.
10:59Utamaro's surname, Kitagawa,
11:02is the surname of the house where Tsutaya Juzaburo lived.
11:08It was a relationship that gave him his surname,
11:13and he quickly appreciated Utamaro's talent.
11:19Tsutaju, who made Utamaro paint western paintings,
11:23realized his unique talent that no other painter had.
11:28He observed the people in front of him closely,
11:32and he had the power to capture their gestures and expressions
11:35and draw them vividly.
11:39Utamaro was very good at observing people.
11:45He carefully observed the people in front of him,
11:50and drew them vividly.
11:53I think that is his unique strength.
11:59Tsutaju launched a new project
12:03to make good use of Utamaro's talent.
12:07He tried to make Utamaro paint
12:12with the techniques of Tsutaju and Tsutaya Juzaburo.
12:19This is the book, Ehon Mushi-erami,
12:22which is based on the love story of a caterpillar.
12:28Utamaro's favorite insects are described in great detail,
12:32and it is an exquisite book that uses the advanced techniques of digging and fishing.
12:37It seems that the teachers also used skins.
12:43Utamaro has a seal under his name
12:46in a series of enhanced picture books.
12:52It is a proof of Utamaro's pride
12:56that he built his own world as a painter.
13:02Tsutaju tried to sell Utamaro.
13:05Without Tsutaju,
13:08Utamaro, a world-famous painter, would not have existed.
13:14However, this enhanced boom ended abruptly.
13:20The trigger was the reform of Kansei by the old beast, Matsudaira Sazanobu.
13:28Yoshiwara lost his popularity
13:31and the teachers who were from Bushi retired one after another,
13:36and some of them were said to have committed suicide.
13:42Eventually, Tsutaju also had a hand in Kansei,
13:46and even if the book he had started disturbed the atmosphere,
13:50he would receive a severe punishment of collecting half of his property.
14:01Utamaro lost his order from Tsutaju,
14:04and he could no longer paint.
14:09Where and what was he doing in this blank space?
14:19Uzumagawa, where the city of Kura, Toshigi, flows.
14:24It is said that Utamaro lived on this land, away from Edo.
14:32Toshigi was connected to Edo by the water from Uzumagawa,
14:37and flourished as a small island in the northeastern Kanto region.
14:43This is the Toshigi Utamaro Museum,
14:47which studies the relationship between Utamaro and Toshigi.
14:51I asked the director, Mr. Abe, why Utamaro was in Toshigi.
14:58Toshigi's merchants made money from Utamaro,
15:04and Utamaro drew pictures of Utamaro,
15:08and they put their own paintings on the wall.
15:11I can guess that there was a kind of patron-like relationship.
15:19One of Toshigi's merchants, who sent wood and rice to Edo to make money,
15:24the fourth generation, Zen no Kihei,
15:27is also known as Tokunari Tsuyo-tei,
15:31and it is said that this family of Zen invited Utamaro to Toshigi.
15:38And it is speculated that Utamaro used to draw
15:42meat-like pictures that he didn't usually draw on this land.
15:47In reality, the picture is 3 meters wide and 2 meters tall,
15:51and it is a work of meat.
15:55It cost a lot of money,
15:58and it is speculated that Toshigi's merchants
16:02spent a lot of money on it.
16:07At that time, meat-like pictures were drawn on the land,
16:11and in Ukiyo-e history,
16:13only wealthy guests were allowed to draw meat-like pictures.
16:22However, Utamaro was still a well-known figure,
16:27and he did not gain much recognition as a Ukiyo-e artist.
16:33Utamaro had a great pride
16:39in drawing meat-like pictures.
16:47In the end, Utamaro left Toshigi
16:50and chose the path of Ukiyo-e,
16:53where he drew pictures for the people of Edo.
17:09Chapter 2
17:14Utamaro, who spent his time in Toshigi,
17:17returns to Edo.
17:23The Tsutajyu, which he visited for the first time in a long time,
17:26was still in good health, even though half of its property was confiscated.
17:32The two again form a tag team.
17:35Chapter 3
17:38Utamaro had to draw beautiful pictures that would sell well.
17:43Utamaro realized that the beauty of his face
17:47was second to none,
17:52while his previous works were full-bodied.
17:57In this way, revolutionary beautiful pictures were born.
18:02This is Okubie, whose face is captured in the screen.
18:08Utamaro was the first to incorporate Okubie
18:12into the beauty of beautiful pictures
18:15in his previous works, which were full-bodied.
18:21Utamaro draws a real town girl
18:24who works in a tea shop.
18:28Each face is not the same as the previous beautiful pictures,
18:33but it is a new beautiful picture
18:36that can only be done by Utamaro,
18:39who draws the difference in personality
18:42with the nuance of subtle lines.
18:46The town girl's beautiful pictures,
18:49which are rare to see among the common people,
18:52are not the high-class friendship of Yoshiwara,
18:55but the popularity of Utamaro.
18:58People are fascinated by the model girl's tea shop.
19:02This is the idol-like popularity.
19:06It seems that the picture sold well.
19:09I think Utamaro was the most popular
19:12among the town people
19:15who became famous with Utamaro.
19:19Utamaro Kitagawa was a famous painter
19:22and a popular person among the town people.
19:26In the Nishiki-e he drew at that time,
19:29Utamaro did something that ordinary painters
19:32would never do.
19:35He drew his own figure in the picture.
19:40In this way, Utamaro was at his best.
19:45However, something happens to this popularity.
19:52Bakufu, who promotes the reform of Kansei,
19:55forbids the town girl's name
19:58to be put on the beautiful picture
20:01in order to protect the air.
20:04Tsutajyu, who is a member of the Han family,
20:07gives the name of the Han family.
20:11However, without the name,
20:14the value of the beautiful picture sold by the actual model
20:17will be halved.
20:20Even so, Tsutajyu could not ignore
20:23the strictness of Bakufu's rule.
20:28Utamaro's beautiful picture is becoming a target,
20:31so I think I will keep a distance.
20:40Utamaro's beautiful picture
20:43may not be able to continue to be sold.
20:46At that time, a new talent appeared
20:49in front of Tsutajyu.
20:55It is Sharaku Toshusai.
20:58He is a painter who boldly exaggerates
21:01and draws a lively actor's picture
21:04that he has never seen before.
21:08Tsutajyu fell in love with the talent
21:11that approaches the truth of the actor
21:15and publishes a large number of Sharaku's pictures.
21:21The impact was huge
21:24and attracted a lot of attention.
21:28However, after only 10 months of activity,
21:31Sharaku also disappeared.
21:37On the other hand, Utamaro
21:40has no intention of quitting the beautiful picture
21:43that Tsutajyu has created.
21:46Utamaro left Tsutajyu,
21:49who had been working on a single work
21:52for two years and three nights,
21:55and started to work with another publisher.
21:59I think Utamaro was jealous
22:02of Tsutajyu,
22:05who put his heart and soul into Sharaku.
22:08What he drew there
22:11was a lively figure
22:14that expressed the sadness and suffering
22:17of the lowest-class yujos,
22:20whether they were high-class yujos or town girls.
22:25Utamaro started to pursue
22:28what he wanted to do,
22:31such as the adventurous theme
22:34that is not limited to being popular.
22:38After leaving Tsutajyu,
22:41Utamaro went on to become a master of beautiful pictures.
22:44Such a high level of pride
22:47made him suffer later on.
22:52Utamaro Kitagawa
22:55had a very strong image of beautiful pictures.
22:58However, when I look at his early works,
23:01I have a completely different impression.
23:04I found it very interesting
23:08Utamaro's observation skills were extraordinary.
23:11I think he was a genius.
23:14Where did he observe
23:17the expressions and gestures of women?
23:20I think this is because Tsutajyu
23:23was from Yoshiwara.
23:26Tsutajyu was able to worship
23:29Yoshiwara's yujos freely,
23:32so he could take Utamaro there
23:36When Sharaku appeared,
23:39you must have felt jealous.
23:42How did you feel?
23:45I think it was a complicated situation.
23:48Creators are very self-centered.
23:51They want to be special to themselves.
23:54Especially for those who have found themselves,
23:57they want to be seen by themselves forever.
24:00I think Tsutajyu was able to
24:03take a distance from me
24:06because he was jealous of me.
24:09I see.
24:12There are people who are jealous of new artists.
24:15I can understand that feeling.
24:18Tsutajyu always told me,
24:21you are a genius.
24:24But when I broke up with Tsutajyu,
24:27I couldn't hear that anymore.
24:31Even if you have a lot of talent,
24:34it's because you have the support of others.
24:37If you forget to thank your partner
24:40and force yourself to do something,
24:43it's not a good thing.
24:48Utamaro, who broke up with his ideal partner,
24:51began to walk his own path
24:54with strong pride.
24:57However, there was a big obstacle
25:00that he couldn't overcome
25:03even with his talent and vitality.
25:06Please take a look.
25:09Although he broke up with his ideal partner Tsutajyu,
25:12Utamaro Kitagawa continued to draw
25:15with his outstanding drawing skills and pride.
25:18He pursued a new expression
25:21in the art of woodcarving.
25:27This is the Takahashi Studio,
25:30which has been teaching woodcarving techniques
25:33for over 160 years since the Ansei period of Edo period.
25:40The representative of Takahashi-san
25:43talks about the characteristics of Utamaro's woodcarving.
25:47It's thin and sharp.
25:50I think this is the best feature.
25:54Utamaro's beautiful painting
25:57uses a technique called yaege
26:00that makes the hairline of the hair look beautiful.
26:03This is too fine to draw cleanly even with a brush.
26:11He expresses it with the digging and rubbing of a half-painting.
26:17How many millimeters should I divide?
26:20I divide it into four pieces
26:23and put them in one millimeter.
26:26It's easier to do this
26:29by digging the wood.
26:32This yaege cannot be expressed beautifully
26:35with a single rub.
26:38It requires a skill of practice
26:41where you adjust the amount of charcoal
26:44and rub it over and over again.
26:47Utamaro was a painter
26:50who made difficult orders
26:53without thinking about the labor of a craftsman.
26:56When I told the craftsman
26:59to make something like this yaege,
27:02I think the craftsman couldn't
27:05let go of his desire.
27:10Utamaro, who pursues what he wants to do,
27:13finds it strange
27:16that putting a model's name in a beautiful painting
27:19is forbidden by the shogunate.
27:25Nappa is Niwa and Ya is Naniwaya.
27:28The sun and the rice fields of the sea are Okita.
27:31Together, Naniwaya and Okita.
27:34This kind of half-painting
27:37was full of the idea
27:40of a man who is a half-painter.
27:45The battle with Nappa
27:48was a battle of half-bones.
27:51He had a rebellious spirit.
27:54I would say he was a half-bone painter.
27:59At that time, his biggest rival,
28:02Torii Kiyonaga, retired from Yukio-e.
28:05Utamaro, with his ability and popularity,
28:08reached the pinnacle of beautiful painting.
28:11Eventually,
28:13a painter imitating Utamaro's painting
28:16appeared, and Utamaro,
28:19laughing at the people around him,
28:22began to write his own self-portrait
28:25into the painting.
28:28Utamaro is the best
28:31in beautiful painting.
28:35If I draw on my own brush,
28:38I can draw the most beautiful painting.
28:41Therefore,
28:44my painting quality is as high as a flower.
28:48In the world of Yukio-e,
28:51Utamaro was the top of the winning group.
28:58On the other hand,
29:01Utamaro, who continued to gain popularity
29:04regardless of his gender,
29:07was ridiculed.
29:10Then, Utamaro began to draw
29:13a daily life of a woman,
29:16not a beautiful painting.
29:20Utamaro, who was good at
29:23simple gestures of a woman,
29:26expressed his sexiness
29:29in his painting.
29:35At that time,
29:38a shocking news came in.
29:41It was the ill-luck of Tsutaya.
29:52At the time of the Edo publishing house's bad luck,
29:55Tsutaya Juzaburo died at the age of 48.
30:01It was the third year since Utamaro left Tsutayu.
30:05It was the death of a great hero who built a new era.
30:11However, even after Tsutayu's death,
30:14Utamaro's brush never faded.
30:19This is a work he drew when Tsutayu died.
30:22It is a masterpiece that captures
30:25a woman who rests between work
30:28while drawing a nude-like figure
30:31in a work called Ama.
30:41It is a painting for the general public,
30:44and it is rare to see such a bold depiction.
30:47There is no insidious meaning in the painting
30:50of Tsutaya Juzaburo.
30:56There was no one to stop Utamaro
30:59after Tsutayu's death.
31:03When I look at it as a publication,
31:06it is a little dangerous.
31:09I think Utamaro is a person
31:12who has not read the atmosphere of the world.
31:15He draws what he wants to draw.
31:18That's why he forgives it half-heartedly.
31:28Two years after Tsutayu's death,
31:31the Shogunate finally banned
31:34the beauty Hōkubie herself.
31:38How could they avoid the eyes of the Shogunate?
31:42Utamaro, who was sealed by Hōkubie,
31:45finally begins to struggle.
31:52He tries to be a fairy tale character
31:55called Yamanba and Kintaro
31:58as long as he is not a young beauty.
32:02He tries to give a long sermon
32:05in the name of teaching to a lazy woman.
32:08However, the woman drawn there
32:11did not have the lively expression
32:14she used to have.
32:18Utamaro, who became a great veteran in his 50s,
32:21responded to Hanmoto's order
32:24and drew pictures other than beautiful women
32:27and connected them together.
32:31Utamaro, who became a great veteran in his 50s,
32:34responded to Hanmoto's order
32:37and drew pictures other than beautiful women
32:40and connected them together.
32:43At that time, trouble occurs.
32:46At that time, trouble occurs.
32:49In a picture book introducing Yoshihara,
32:52the author Ikku, who wrote the book,
32:55claimed that the book's title was in his own writing
32:58and fought fiercely with Utamaro,
33:01who was in charge of the picture.
33:07Like Utamaro,
33:10Ikku, the inventor,
33:13was a famous artist on the street
33:16and a master of painting.
33:19Ikku, the inventor,
33:22was a famous artist on the street
33:25and a master of painting.
33:29He could not afford to be involved in the conflict.
33:32He could not afford to be involved in the conflict.
33:40In May of the same year, Utamaro was at his most difficult time in his life.
33:54Nishikie, the founder of Taikouki, who was popular at the time,
33:58was told by the Bakufu that he should not write about real samurai.
34:04He was interrogated harshly by the Bakufu.
34:08It was not a beautiful painting that he was good at,
34:11but a work that was popular at the time.
34:14It was a mistake to be interrogated.
34:18Utamaro was deeply defeated.
34:25The sword that Utamaro was given was made of 50 pieces of paper.
34:30He was at home, but he was deprived of his freedom of both hands.
34:33It was a harsh thing that he could not even paint.
34:40This sword made Utamaro lose his willpower.
34:48Because I confessed, Taikouki was completely defeated,
34:53and I did a miserable thing to Hanmoto.
34:57If Tsutajyu, who had a sharp eye, was alive,
35:01he might have been avoided.
35:05I think that Tsutajyu's production was necessary for Utamaro.
35:11I think that the fact that Utamaro was in Tsutajyu
35:15resonated with me a little.
35:21Utamaro Kitagawa lost his willpower
35:24because he was faced with a reversal of the times.
35:32His pride as a star painter
35:35might have clouded his vision of reality.
35:43For artists and expressionists,
35:46I don't think there is anything more painful than
35:50being limited to expressing what they think.
35:57It seems that you made a work that provoked Bakufu.
36:01How did you feel about it?
36:05I don't think Utamaro was provoked.
36:10I think that if he had his own will,
36:12Bakufu would have watched it more.
36:15He would have thought,
36:17since I drew something so wonderful,
36:20he would forgive me.
36:24However, you can't know the value of a painting
36:27until you have a strong will.
36:29Utamaro only thinks of it as a stepping stone
36:32for his own success.
36:35I was also curious about the fact that
36:37you drew a work with Utamaro as the subject,
36:40and it got caught in the publishing system
36:44Why did you choose Taiko-kyo as the subject?
36:48Here is Jun Ito's point of view
36:51from the point of view of a historical artist.
36:57I think Utamaro was shown as the subject
37:00of Daigo's Hanami.
37:02In other words, it is a longing for Momoyama culture.
37:05What kind of era was Utamaro's era?
37:08In fact, due to the decline of Meireki,
37:11Momoyama lost its splendor.
37:14It was a year of great loss.
37:18In such a situation,
37:20I think Utamaro, who was politically inferior,
37:23longed for Momoyama culture.
37:25I think he was caught by the people
37:28who wanted to give him a high position.
37:33So it was a world where you wanted to draw
37:36as a pure artist.
37:38I think so.
37:41The arrogant belief that Japan is special
37:44is the root of all diseases.
37:46If you close your eyes to a critical situation
37:49and do whatever you want,
37:51of course, you will fall into a trance.
37:55The punishment for Bakufu,
37:57who made Utamaro, the richest man in Japan,
38:00a bonehead.
38:02It was too painful for a veteran painter
38:04who had passed the peak.
38:06Still, Utamaro shows the last will as an artist.
38:09Please take a look.
38:12Utamaro, who was severely punished
38:14with 50 days in prison,
38:17left this world two years later.
38:24In recent years,
38:26Utamaro has learned that he continued to draw
38:29even in his last year in prison.
38:32Some of his works
38:34are said to have been drawn in Tochigi.
38:40At the Tochigi Shiritsu Museum,
38:42three of Utamaro's masterpieces
38:44are on display.
38:53The first work,
38:55Shinagawa no Tsuki,
38:57was drawn in Tochigi
38:59by Utamaro.
39:01In Tochigi,
39:03he draws the scenery of an open-air
39:05tea house in Shinagawa
39:07next to Yoshiwara.
39:11Next, in Yoshiwara no Hana,
39:13Utamaro draws the bustling season
39:15of Yoshiwara no Hana,
39:17which he got used to.
39:19He draws all the male guests
39:21as beautiful women.
39:29Finally, in Fukagawa no Yuki,
39:31which was completed in his last year in prison,
39:34Utamaro draws the bustling scenery
39:36of Yoshiwara no Hana's rival,
39:38Fukagawa no Yuujo.
39:47After his disappearance,
39:49Katai, an artist,
39:51asked Utamaro
39:53about the charm of his work
39:55that was rediscovered in 2012.
39:58When I look at this picture,
40:00I don't just enjoy looking at it,
40:03but I can feel
40:05Utamaro's life
40:07and various thoughts
40:09in it.
40:11When I draw the details,
40:13I can feel
40:15Utamaro's hard work.
40:17I think I can feel
40:19Utamaro's hard work
40:21in his life.
40:28Utamaro Kitagawa
40:30showed his pride as a painter
40:32until the end.
40:34His work became a masterpiece
40:36and was brought overseas.
40:38It created a Japanese boom
40:40called Japonism
40:42and had a great influence
40:44on culture and art.
40:48I think it was a work
40:50that was easy to accept in the West.
40:53In recent years,
40:55when people don't pay attention
40:57to Ukiyo-e painting,
40:59Utamaro was the first
41:01to draw attention to it.
41:07Even now,
41:09his work is highly regarded
41:11in the world.
41:13Compared to other painters
41:15who draw women,
41:17he has a good quality.
41:19He has a good personality,
41:21but his quality
41:23remains the same.
41:26When I get used to his paintings,
41:28I can see that
41:30Utamaro's beautiful paintings
41:32are outstanding.
41:34His paintings are
41:36unique and beautiful.
41:38When I look at his paintings,
41:40I really fall in love
41:42with the woman.
41:45He believed in his painting skills
41:47more than anyone else
41:49and kept resisting
41:51until his death.
41:55No matter what era he was in,
41:57Utamaro loved and looked at
41:59the women who lived
42:01their own lives
42:03more than anyone else.
42:10I was shocked
42:12when I was punished.
42:15But I didn't give up.
42:17I continued to draw
42:19what I wanted to draw.
42:21I was relieved.
42:23Utamaro continued to draw
42:25what he wanted to draw.
42:27He didn't give up.
42:33Utamaro has lived
42:35his life to the fullest.
42:37I don't think
42:39Utamaro's paintings are
42:41biased.
42:43Utamaro's paintings
42:45reflect the greatness
42:47of his life.
42:49I think Utamaro
42:51is a lonely man.
42:53What would you have done
42:55if you had met
42:57Tsutaya?
42:59If I had met Tsutaya,
43:01of course I would have
43:03met Utamaro.
43:05However,
43:07we are not
43:09on the same path.
43:11If we were in the same
43:13group,
43:15it would be better
43:17to keep our distance.
43:19We would be in a new place.
43:23Please tell us
43:25what we should learn
43:27from Utamaro's defeat.
43:29If you are good at politics,
43:31you will be successful.
43:33Utamaro used to
43:35rely on the studio
43:37to teach him
43:39how to draw
43:41how to draw
43:43how to draw
43:45at first autum
43:47at first autum
43:49at first autum
44:01When we think about
44:03our world,
44:05we cannot see the mind
44:07of the others.
44:08To make a difference,
44:10we should check
44:12This is a lesson from the defeat of Utamaro.
44:42See you next time.