Edo Miyagawa Woodblock print
Katsuchika (orig. Nakajima) Tamekazu. F.N.: Tokitaro, later Tetsuzo. Go: Fusenkyo, Gakyojin, Gakyo Rojin, Gumbatei, Gyobutsu, Hishikawa Sori, Hokusai, Iichi, Kako, Katsukawa Shunro, Kintaisha, Kuku, Manji, Manjio, Manji Rojin, Rainshin, Raito, Ryosen, Shimpaku Sanjin, Shinsai, Shunro, Sori, Soshunro, Taito, Tatsumasa (used over 50 Go, of which the above are the most common).
Ukiyo-e painter and printmaker; lived largely in Edo; adopted son of the mirror maker Nakajima Ise. He trained as an engraver, and also learned to cut wood blocks for prints; he was apparently the only artist of his time to do so. At 18 he learned to design actor prints from Katsukawa Shunsho and was given the Go Katsukawa Shunro, under which he also produced illustrated "Kibyoshi". In 1785 he quarreled with Shunsho and was dismissed from his studio. In 1787 he began to sign Hishikawa Sori, about 1797 he began to use the Go Hokusai. From about 1795 to 1806 he worked under the go Gakyojin, Hokusai, Kako, and Sori, and worked in a romantic manner turning out "Surimono" and illustrated volumes of verse. Next, under the influence of Chinese-style landscapes in book illustrations by Ooka Shumboku and others, he introduced landscapes into his own works, producing pictures of famous places. In 1814 the remarkable "Manga" volumes began to appear. By 1816 using the go Iichi he was doing some of his finest paintings, including the great landscapes; he was also working on the fine "kachoga" prints. In 1817 he went to Nagoya to work, and in 1818 he visited Osaka and Kyoto. After 1820 all the great sets of prints, such as "Thirty-six Views of Mt. Fuji" began to appear. By 1835, using the go Manji and Gakyo Rojin among others, he worked primarily as a painter. His life was unsettled, with frequent changes of residence and two marriages, but even so he produced a prodigious output of prints, sketches, paintings - perhaps 30,000 in all. He had many pupils and was one of the great draftsmen of the world. (Roberts. 48)