Modern Versions of the Twenty-four Paragons of Filial Piety: Guo Zhu - Isoda Koryūsai

A refined ukiyo-e woodblock print by Isoda Koryūsai, depicting a domestic scene from the series Modern Versions of the Twenty-four Paragons of Filial Piety.

This woodblock print by Isoda Koryūsai belongs to a series that reimagines traditional Chinese tales of filial piety within the contemporary context of eighteenth-century Edo. The scene depicts the story of Guo Zhu, a figure known for his extreme devotion to his mother. In this version, Koryūsai translates the narrative into a domestic setting, focusing on the quiet activities of daily life.

The composition is balanced, featuring two women in a room with tatami flooring. One woman holds a small child, while the other prepares a meal over a small hearth. The artist employs a muted palette, typical of the period, with soft greens, browns, and subtle accents of colour. The architectural elements, such as the sliding doors and the hanging scroll, provide a sense of spatial depth while maintaining the characteristic flatness of the ukiyo-e style.

Koryūsai was a prolific artist who transitioned from samurai status to professional printmaking. His work often features elegant figures and refined compositions. This particular print demonstrates his ability to blend classical themes with the aesthetic preferences of the urban merchant class in Edo. The inclusion of the bird on a stand and the carefully rendered cooking utensils adds a layer of domestic realism to the scene. The print is a fine example of the nishiki-e, or brocade print, technique, which allowed for the use of multiple colours in a single image. The lines are precise and controlled, defining the folds of the kimonos and the expressions of the figures with clarity. This work offers a glimpse into the cultural synthesis of the period, where ancient moral narratives were adapted to suit the tastes of a changing society.