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Forty-Seven Rōnin Print

Philip Leister

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About The Artwork

The revenge of the forty-seven rōnin (四十七士, Shijūshichishi), also known as the Akō incident (赤穂事件, Akō jiken) or Akō vendetta, is an 18th-century historical event in Japan in which a band of rōnin (leaderless samurai) avenged the death of their master. The incident has since become legendary. The story tells of a group of samurai who were left leaderless after their daimyō (feudal lord) Asano Naganori was compelled to perform seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. After waiting and planning for a year, the rōnin avenged their master's honor by killing Kira. They were then obliged to commit seppuku for the crime of murder. This true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that people should display in their daily lives. The popularity of the tale grew during the Meiji era, during which Japan underwent rapid modernization, and the legend became entrenched within discourses of national heritage and identity. Fictionalized accounts of the tale of the forty-seven rōnin are known as Chūshingura. The story was popularized in numerous plays, including in the genres of bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names were changed. While the version given by the playwrights may have come to be accepted as historical fact by some, the first Chūshingura was written some 50 years after the event, and numerous historical records about the actual events that predate the Chūshingura survive. The bakufu's censorship laws had relaxed somewhat 75 years after the events in question in the late 18th century when Japanologist Isaac Titsingh first recorded the story of the forty-seven rōnin as one of the significant events of the Genroku era. To this day, the story remains popular in Japan, and each year on December 14, Sengakuji Temple, where Asano Naganori and the rōnin are buried, holds a festival commemorating the event. Source: Wikipedia

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Print:Giclee on Fine Art Paper

Size:10 W x 10 H x 0.1 D in

Size with Frame:15.25 W x 15.25 H x 1.2 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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