OGURI GAIDEN, ‘The Fictionalised Chronicle of Oguri’ A yomihon-style novel written by Kôzan (Shigeru Koeda, 1759–1826) and published between 1813 and 1815 by the publisher Bun’eidô in Osaka. It comprises 18 volumes divided into three series. This work recounts the adventures and exploits of Oguri Hangan, a legendary hero and warrior from Japanese folklore, as well as his ill-fated love story with Princess Terute, which ultimately overcomes all obstacles. Set of four shita-e, by Hokusai and a pupil. Sumi ink on usugami DIM. 19.3 x 27.3 cm (7 5/8 x 10 3/4 in.) - 19.3 × 27.4 cm (7 5/8 × 10 13/16 in.) Three of these four preparatory drawings were published. . 1813, 1st series, vol. 4, ff. 3v–4r A gigantic serpent swallowing a stag, with two archers aiming at it in the background. This illustration refers to the giant serpent-dragon of Lake Mizoro, which haunts the region and preys on animals. This drawing is reminiscent of the Chinese legend of Liu Bang slaying the white serpent on Mount Mangdang. Hokusai would later revisit this theme in a different form in *Ehon Kanso gundan* (1843). . 1813, 1st series, vol. 5, pp. 19v–20r Sukeshige (Oguri Hangan) demonstrating his skill on horseback, Published in: BAFJ, 6, p. 35 In his commentary, Bernard Rousseau considers that the linework in this drawing is not by Hokusai himself, but that many details are characteristic of the work of his studio. “The existence of this original by a pupil, published under Hokusai’s name, provides a very clear answer to the theory put forward by Roger Keyes (Andon, 8, 1982, p. 44), who suspected that a number of Hokusai’s drawings from this period, including this one, were in fact the work of a pupil.” (BAFJ, p. 35) . 1814, 2nd series, vols. 1 and 2. Ichiji shita-e for five illustrations Published in: Orientation, ill. 3, p. 87. BAFJ, ill. 7, p. 36 These sketches are mainly reproduced in vols. 1 and 2 of the 2nd series. Thus, the woman in the foreground, in the centre, appears in vol. 1, ff. 2v–3r; whilst the other standing woman, the man smoking a pipe, and the herdsman on his buffalo are on the following two pages, vol. 1, ff. 3v–4r. The seated man, the two women side by side and the woman lying horizontally at the top are on the same plate, in vol. 2, ff. 4v–5r Among these sketches, Bernard Rousseau believes that the buffalo and the grass beneath its feet were drawn by a pupil, after Hokusai had sketched the buffalo herder. . 1814, 2nd series, vol. 5, ff. 15v–16r “A horseman and a child arrive at the gate of a house where a woman is playing the koto” Published in: Orientations, ill. 7, p. 88 Just as with the shita-e depicting Sukeshige on horseback, Bernard Rousseau considers that this drawing is most likely not by Hokusai, with the possible exception of the child, whose lines are of a higher quality. He suggests that, in order for it to be published under his name, Hokusai must subsequently have ensured the quality of the final sketch, possibly contributing to it himself. Bernard Rousseau wonders whether these two drawings might not be the first instances of pupils’ drawings published under the Master’s name, with his consent, of course.