Abstract
Woodblock printing in Japan has a long history, and scholars believe that it was introduced from China in the late 7th century CE. This technique, which required close collaboration among the designer, the engraver, and the printer, enabled the mass production of artworks. One of the artistic genres produced through this printing method was Ukiyo-e, meaning “pictures of the floating world” or “images of the transient world”. Ukiyo-e prints -colorful woodblock images- became highly popular during the Edo period (1615–1868) and, from the 17th to the 19th century, came to symbolize middle-class art, reflecting the lives of ordinary people. Their subjects included the pleasure district, Kabuki actors, sumo wrestlers, Japanese landscapes, and all that depicted the fleeting and material aspects of the world.
       One such work is preserved in the World Art Museum, depicting a scene in which a figure in warrior attire appears before a doorway with courtiers. The present study aims to chronologically date this work through an examination of its seals and to identify its thematic and structural characteristics, seeking to answer questions regarding the formation of the image in relation to its historical context and artistic conventions in Japan.
       Accordingly, this research was conducted as a fundamental historical study, with data gathered from documentary (library-based) sources as well as direct observation and examination of the object preserved in the museum. The findings were analyzed using a descriptive-analytical method. Based on the collected data, it can be concluded that the artist of this print was Utagawa Yoshitora; within the extensive corpus of printed works by this artist, this print is recognized as one of the three panels of a Nishiki-e triptych, exemplifying his refined technical proficiency in compositional design and multicolor printing.
 
 
Introduction
Woodblock printing was a method of book production that had been used for many centuries in China and was introduced to Japan during the Asoka period (538–710 CE). From the 11th to the 19th century, it became the primary means of printing in Japan. During the Edo period (1603–1868), this technique was widely practiced as an art form involving close collaboration between the illustrator, the engraver, and the printer, resulting in the mass production of works in various ukiyo-e genres.
       Ukiyo-e -the vividly colored woodblock prints of the Edo period- were highly popular and, from the 17th to the 19th century, came to symbolize the artistic taste of the middle class and depict scenes from everyday urban life. Their subjects included licensed entertainment districts, kabuki actors, sumo wrestlers, Japanese landscapes, and representations of the transient and material world. Identifying the subject matter and deciphering the inscriptions on this woodblock print preserved in the World Art Museum, as well as determining its date, can contribute significantly to its scholarly understanding and documentation. To date, no detailed research has been conducted on the precise identification and interpretation of this work. Therefore, this study has been undertaken to address questions concerning its historical background, thematic content, and structural features.
       In addition to discussing the history and stylistic characteristics of ukiyo-e and the Japanese woodblock engraving technique, this research also includes the reading and analysis of the inscriptions found on the print. Presenting artworks left behind by a civilization from a new perspective is one of the most effective ways to gain a deeper understanding of its various dimensions. Often, the history and culture of a civilization can be explored and interpreted through its visual heritage. In this regard, the aim of the present study is to introduce ukiyo-e and Japanese prints by establishing their chronology and analyzing their structure and themes, based on the example preserved in the World Art Museum.
 
Research Methodology
This study has been conducted as a fundamental (theoretical) research within the fields of history and art. The data were collected through documentary (library-based) research as well as direct observation and analysis of the original artwork preserved in the museum. A descriptive–analytical method was employed to examine and interpret the materials.
 
Discussion
The woodblock print under study belongs to the nishiki-e type (multi-colored woodblock printing) and forms part of a triptych composition. The work is attributed to the renowned artist Utagawa Yoshitora, and it clearly depicts a scene from the Nanbokuchō period — the era of the Northern and Southern Courts in Japan. The seals visible on the print indicate the names of the engraver (Katada Chūjirō), the publisher (Enshūya Hikobei), and the zodiacal sign corresponding to the year 1863.
       This print constitutes one section of a triptych that portrays Ashikaga Takauji, accompanied by one of his prominent generals and an army from the Minamoto clan. Due to the absence of an inscription or title on the image, its exact name cannot be determined. However, a similar composition entitled “Ashikaga Takauji’s Fleet Sets Out for War” was created by Utagawa Yoshi Fuji. Through further examination of Yoshitora’s works, another panel of this same triptych was identified in the Museum of Applied Arts, Vienna, which depicts Takauji wearing his characteristic green robes. The title given to this segment in the Viennese collection is “Ashikaga and Kōno Moronao.”
       Kōno Musashi-no-kami Moronao was the first person to be granted the position of kanrei (shitsuji)—the deputy to the shogun. He was appointed to this post by Ashikaga Takauji himself. The figure kneeling before Takauji in the composition is one of the Ashikaga Samanokami, a title which, according to Kinoshita Satoshi, remained an official post representing the Ashikaga family from the Muromachi through the Edo periods. It was among the few positions that preserved the traditional characteristics of medieval samurai offices.
 
Conclusion
Ukiyo-e is a genre of Japanese woodblock printing that has attracted sustained attention from its inception to the present day. Closely associated with urban life and culture—particularly the pleasure -seeking aspects of Japan during the Edo period- ukiyo-e is characterized by its linear emphasis, pure and vibrant colors, and apparent simplicity.
       The triptych format, which gained prominence in the 19th century alongside the rise of the Utagawa School, reflected not only artistic taste but also commercial practicality, as each panel could be sold separately without disrupting the overall narrative. The print examined in this study exemplifies how artists of that era employed this compositional form to expand the visual space and convey complex themes more effectively. It provided an opportunity to depict grand landscapes and dynamic historical scenes. In this particular work, Yoshitora meticulously renders the crests of the Ashikaga and Minamoto clans. The historical background of the narrative refers to the prolonged period of internal conflict during the Nanbokuchō era, which began under the rule of Ashikaga Takauji and continued after his death. Based on the seals visible on the print, the work can be conclusively dated to the late Edo period, specifically the year 1863 CE. The presence of both Kōno Moronao and Ashikaga Takauji in this work symbolizes the turbulent Nanbokuchō era and reflects the historical conflicts between the Northern and Southern Imperial Courts of Japan.