Official

 Kiyokata Kaburagi was born in Kandasakumacho in Meiji 11 (1878).

His father is Jonosaikiku. My parents' house was a local wholesaler in Nihonbashi Horidome-cho (a popular wholesaler in Edo). He is one of the founders of the current Mainichi Shimbun and the Tokyo Nichi-Nichi Shimbun. He was a journalist, a humanistic writer who also worked on drama reviews and dramas (vostage novels), and later left the illustrations of newspapers to Kiyokata during the president of Yamato Shimbun.

Hokiyama, the birthplace of his mother's grandmother, Fuku, was a family member of the Edo period and was the priest of Tepposhu Inari Shrine (chief priest). When Kiyokata was young, every day on his way home from school, he recalls his essay "Tsukiji Neighborhood" that he stopped by the gunpowder Inari Shrine, where his grandmother helped and played with Mimiyaban. Since I began to understand the letters, Kiyokata has been making his grandmother a picture of Sosou paper at home, and is deeply familiar with pictures and sentences.

The mother, Fumi, is born in the house of the Kaburagi family, the priest of the sixth Tenjin Shrine in Asakusa. A woman with the spirit of an Edo woman who is an expert in the play, likes entertainers and entertainers, prefers flashy things and hates lonely things. Looking at his mother, Kiyokata wrote down that he learned the life, hobbies, and ways of thinking about things of the common people of Edo, which are at the bottom of his art.

My mother seems to have liked moving. Kiyokata himself said, "There were many Tokyo people who liked moving. "I can reach 30 times when I move from an early age," he wrote in "Meiji Okai."

I think that it includes villas and workplaces for work, but according to the materials I found, there are many unknown addresses such as addresses, but I know 20 places. Seven of them were the current Chuo Ward.

As soon as I was born, I will move to Shitaya Ninagamachi. One year later, I moved to Kyobashi Minami Konyacho.

It's the current Ginza 1-chome. I took a picture of Konyabashi Children's Park because there was nothing to show Minami Konyacho. I didn't know the exact address, but it seems to be one of the antenna shops in Kochi Prefecture than the park.

In the same year after moving to Minami Konya-cho, he moved to Bunkai Elementary School at Tsukiji 1-chome.

It seems that there was a house in front of the back gate of the elementary school.

I saw the map of the early Meiji era of the Chuo-ku Historical Map, but the roads are different and the parcels are different from now. It is on the left side just before going west from Kariko Bridge, which was at the diagonal position of the current Irifune Bridge, to Tsukijibashi. It seems that the area around the building in the photo of Tsukiji 1-chome was the front entrance. The southwest side can be imagined as the back gate, and on the old map, private houses line up across alleys.

I live here from the age of one year in Meiji 12 (1879) to seven years in Meiji 18 (1885).

The third generation Hiroshige Utagawa lived in the neighbor's house and had an exchange. It seems that I had the opportunity to see Ukiyo-e.

This is an explanation version of the site of Shintomiza. This is the current location of the Kyobashi Tax Office. It is about 150m from the Jono family in front of the back gate of Bunkai Elementary School. This is one of the reasons why the play-loving parents' intentions moved.

Nihonbashi and Kyobashi have been places where terakoya has been concentrated since the Edo period. In the Meiji era, a school system was issued, and a public elementary school was established, including Sakamoto Elementary School, but many parents chose Terakoya as a place for education. Terakoya is also a private elementary school for survival. Elementary schools without playgrounds were eliminated, but a small number remained as substitute elementary schools. Among them, the elementary school that is said to be famous is Suzuki Elementary School. Both Kyobashi, Minami Hatchobori, and gunshot, were written, but the location could not be specified. Is it around Irifune 1-chome now? I entered Meiji 16 (1883) when I was 5 years old. I wrote before that I went to school almost every day and played with my grandmother because I was close to Gunpowder Shrine. A lot of actors and play-related children living around Shintomiza also attended Suzuki Elementary School, and Kiyokata grew up with desks.

In Meiji 18 (1885), when Kiyokata was seven years old, he moved to 11-11, Kibikicho. If you look at the Chuo-ku history map collection and the old map of 1875, it is next to Kyobashi Park where the current Chuo-ku Tourism Association is located. The current address is Ginza 1-chome. It seems that private houses were lined up on the southwest side of a part of the apartment in the photo. I lived here until I was 17 years old in Meiji 28 (1895).

Around this time, my father, Jono Rigiku, launched the Yamato Shimbun.  Kiyokata stops Suzuki Elementary School and enters a private Tokyo English school in Kandanishikicho. At the age of 13, I was introduced to Toshikata Mizuno, a ukiyo-e artist, and practiced by going to school, but he recalls that it was difficult to improve. At the age of 15, he was awarded Kiyokata's Masago and started drawing illustrations in Yamato Shimbun.

At this time, Yamato Shimbun fell into management difficulties, and the Jono family's household finances were tight. Perhaps because of that, Kiyokata inherited the mother's family and became the last name of Kaburagi. The reading is "Kaburaki".

By the way, the reason why I did not understand the picture at all, but the theme of Kiyokata Kaburagi is because my relatives have the last name of Kaburagi. I didn't know the picture, but I knew the name for a long time. Until recently, I thought it was a bluff, but when I checked it with myself, I said "Kaburaki". 

The Yamato Shimbun wrote down the creation of Sanyutei Encho and serialized it. At that edge, when Kiyokata was 17 years old, he suffered beberi and was recommended to relocate, but if he was in trouble with his household budget, Encho will go to interview a new work but invites him to replace his disciples . Kiyokata, who has never left Tokyo, travels to Tochigi and is fascinated by the scenery of his travel destination, and his berief is completely cured. Kiyokata, who hated portraits, became interested in biography over the past 35 years, and I think that portraits should be drawn with the inner side of a person and as a person. "Sanyutei Encho Statue" has become an important cultural property.

During this time, Kiyokata leaves Chuo-ku and moves at least three times in the direction of Hongo Yushima. Then, in Meiji 33 (1900), at the age of 22, he moved to 3-chome, Kyobashi Minamidenmacho. It is around the building in the photo in front of Tokyo Square Garden, where the current Kyobashi 3-chome is located, where the Chuo FM headquarters is located. I came back to Chuo-ku.

The following year, in April 1901, he moved to Kibori-cho. The address is 1-15, Kiboricho. The address where Kiyokata lived between the ages of 7 and 15 is 1-11. According to the old map of 1897 in the Chuo-ku history map collection, Mananro, which was previously written as eleven, has been changed from eleven to fifteen. It is a high-class Japanese restaurant with a vast site. The residential site in front of it is written in the same way as the old map of 1875. Kiyokata wrote in a retrospective of "Time Cosmetics" that "When I lived in Man'an Road in Kibiki-cho ..." I think it's highly likely that I have returned to my previous home.

During this period between the ages of 23 and 28, I will draw illustrations and illustrations such as the "Takekurabe" of the beloved Ichiyo Higuchi, which I had been writing for a long time, and interact with Koyo Ozaki and Kyoka Izumi to draw illustrations of "Golden Yasha" and "Women's Genealogy".

At the age of 25, she married Teru, a comrade, Makoto Tsuzuki's sister-in-law. Teru was 17 years old at the time, and she was really aspiring to be a writer. It was Man'anro in front of me who gave the ceremony.

There is a photo at  the Kaburagi Kiyokata Memorial Museum of Art, "When I became independent as an illustrator" and working in a room during the Kibikicho period.

The year after Kaoru Osanai, who met through Kabuki, visited Kiyokata's house in Kibiki-cho with Toson Shimazaki and asked for a word of "disaster," he moved to Nihonbashi-cho 2-chome and No. 2 in the former Hosokawa Family Residence at the end of 28 in 1906. I will live here until 1912.

I know the address so far, but I couldn't identify the location. In the old map of 1875, Hosokawa's house is written at Hamacho 2-chome. Kiyomasa Koji Temple was located near the center of the large site. There's no doubt that it's around here.

In the old map of 1897, there is no notation of Hosokawa's house at Hamacho 2-chome, and the location of No. 2 in the house is completely unknown. The site of Hosokawa's residence in 1875 feels like the current Arashio room is also included. There's no possibility that I was there.

In April 1912, he moved to 3-chome Ichino-18, Nihonbashihama-cho. I'm 34 years old.

In the old map of 1897, half of Hamacho 3-chome is one. I couldn't find the hiragana notation.

This area moved to Hongo in just a month, then moved to Ushigome Yaraicho, and moved to Kamakura after the war. Hamacho Sanchome seems to be the last time he lived in Chuo-ku.

The building is different in Hamacho when  Kiyokata lived, but there were both Arima Elementary School and Suitengu. But what kind of impression do you have when you look at Tornale Nihonbashihamacho, which is on the 46th floor that appears in the present day?

The paint in this photo is the paint used by Kiyokata, which was placed at the Kaburagi Kiyokata Memorial Museum.

In particular, it was explained that the blue paint, which was called Kiyokata Blue, was finely crushed by a green natural rock called peacockstone (malachite) to produce shades of color depending on the size of the particles.

Just looking at this actual thing, you can feel the delicateness, expressiveness, and commitment to Kiyokata's paintings.

At first, I thought Kiyokata Kaburagi, who only knew the name, was a famous beauty painter.

"Tsukiji Akashicho" depicts the light blue fence and morning glory of the Western-style building in Akashicho, which was a foreign settlement, in the background of a beautiful kimono. "Morning and Evening Yasui", which loves very much, depicts the life scenery of the townspeople in the morning, noon and evening, all of which are the lives of the people I saw in Tsukiji in the morning and the neighborhood of Hatchobori in the day and night. He also answered in an interview that "I wanted to write a novel." He was a writer who wrote many essays, such as "Ginsuko," a retrospective of the banks of Hamacho, "Tsukiji River," which wrote landscapes of the river flowing in the neighborhood of Kibikicho, and "Faharuki," which wrote a row of willow trees in Ginza. He had a versatile face such as illustrations, landscape painters and ukiyo-e painters.

"The hometown of the heart that firmly rooted in me can be said to be in my life that lasted until 34.5 years of Meiji after learning the mind."

He was a fresh and innocent Tokyo kid who was about to preserve the memories of the Meiji era and downtown.

Photographs of the entrance of the Memorial Museum have been approved at the reception. Photography is not allowed inside the museum, but the display of this paint was OK with Iwahara stone of other colors.