{"id":1326,"date":"2025-07-19T18:30:12","date_gmt":"2025-07-19T09:30:12","guid":{"rendered":"https:\/\/www.yamada-shoten.com\/english\/blog\/?p=1326"},"modified":"2025-07-19T17:33:36","modified_gmt":"2025-07-19T08:33:36","slug":"new-arrival-ikeda-masuo-nakamura-naondo-mushanokoji-saneatsu-serizawa-keisuke-kazama-kan-yoshida-toshi-naka-chihiro-toyokuni-hokusai-hiroshige-and-others","status":"publish","type":"post","link":"https:\/\/www.yamada-shoten.com\/english\/blog\/?p=1326","title":{"rendered":"[New Arrival] Ikeda Masuo, Nakamura Naondo, Mushanokoji Saneatsu, Serizawa Keisuke, Kazama Kan, Yoshida Toshi, Naka Chihiro, Toyokuni, Hokusai, Hiroshige and others"},"content":{"rendered":"
\n
\n
\n\t\t
\n\t\t\"Woman
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Woman Applying Makeup” by Ikeda Masuo<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Nude
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Nude Figure of Reclining Woman” by Nakamura Naondo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Hand
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Hand” by Mushanokoji Saneatsu<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Calligraphy
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Calligraphy and drawings” by Mushanokoji Saneatsu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Quixote's
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Quixote’s Ascetic Training in the Mountains” by Serizawa Keisuke<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Valor Turns to Ashes” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Fearless Don Quixote” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Quixote
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Quixote Sets Out with Sancho for the First Time” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"His
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“His First Battle Famed Throughout the World” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Arashi
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Arashi no mamani” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Akebia
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Akebia Quinata” by Fukazawa Koko\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Port
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Port of Honfleur” by Kazama Kan\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Scene of Paris” by Kazama Kan\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Traveling
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Traveling Man” by Kazama Kan\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Stone
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Stone City” by Tanigawa Koichi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Caravan
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Caravan” by Yoshida Toshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Birds
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Birds” by Yamaguchi Kaoru\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Kyo
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Kyo Kanoko Musume Dojo-ji” by Naka Chihiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Koya
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Koya Hijiri” by Naka Chihiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Festival
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Festival Eve” by Naka Chihiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Early
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Early Summer Rain” by Naka Chihiro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Surimono
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Surimono Album\u3000Vol.1-5
\n” by David Bull\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Sequence
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Sequence of Woodblock Printing: Under the Wave off Kanagawa by Hokusai\u3010Reproduction\u3011” by Hokusai\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Four
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Four Seasons by Hiroshige (Snow, Moon and Flowers) \/ Snow \u3010Reproduction\u3011\t” by Hiroshige\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable A for the Play Akegarasu: Urazato and Tokijiro” by Toyokuni III<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Mo for Mochitsuki: Yu’giri and Izaemon” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Nu for Rain on Nakacho: Kosan and Kingoro” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Ko for the Play Kokusenya: Kanki and Wato’nai” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Hi for Shanks’ Mare: Yajirobei and Kitahachi” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Ta for Takarago: Jiraiya” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Chi for Chidaruma: O’kawa Tonomo” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Ha for Eight Battle Formations: Sato Masakiyo” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Ru for Rui wa Tomo Soga no Irodori” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Re for the Play Renri no shigarami: Ohan and Cho’emon” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Me for Mekura Kagekiyo in Hyugajima” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable So for Somemoyo: Osome and Hisamatsu” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable E for Cherry Blossoms of Edo: Sukeroku and Ikyu” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Ka for Rain on the Hunting Ground: Juro Sukenari and Goro Tokimune” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Su for Suzugamori: Shirai Gonpachi” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Yu for Potted Trees in Snow: Tokiyori and Shirotae” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Wa for Ferry Landing: Seigen-ni and Sarushima So’ta” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable To for Long-tailed Rooster: Haji no Hyo’e and Sukune Taro” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Mu for Purple Hood: Ume no Yoshibei” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Te for the Carriage-pulling Scene in the Play Records of Tenjin” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable I for the Battle of Ichinotani: Kumagai and Atsumori” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Wo (O) for Fugitives: Koshimoto Okaru and Hayano Kanpei” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Shi (Ji) for Jiraiya: Ogata Kangyo” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Ni for Mirror of Two Generations: Akitsushima Kuniemon” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Ne for Rat Magic: Nikki Danjo” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary \/ The Syllable Tsu for the Play Tapestry: Kamura Utaemon and Shundo Jirozaemon” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary, Supplement \/ The Number 3 (San) for the Play Sanryaku no maki: Kiichi Hogen” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Seven
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Seven Calligraphic Models for Each Character in the Kana Syllabary, Supplement \/ The Number 4 (Yo) for the Play Yotsuya Kaidan: Oiwa and Iemon” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

“Woman Applying Makeup” by Ikeda Masuo “Nude Figure of Reclining Woman” by Nakamura Naondo “Hand” by Mushanokoji Saneatsu “Calligraphy and drawings” by Mushanokoji Saneatsu “Quixote’s Ascetic Training in the Mountains” by Serizawa Keisuke “The Valor Turns to Ashes” by Serizawa Keisuke “The Fearless Don Quixote” by Serizawa Keisuke “Quixote Sets Out with Sancho for the […]<\/p>\n","protected":false},"author":1,"featured_media":1327,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1326","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-arrivals"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1326"}],"version-history":[{"count":7,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1326\/revisions"}],"predecessor-version":[{"id":1335,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1326\/revisions\/1335"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=\/wp\/v2\/media\/1327"}],"wp:attachment":[{"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1326"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1326"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.yamada-shoten.com\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}