Wives and Tatami Mats Are Best When New (Nyôbô to tatami atarashii ga yoi), One Sister-in-law Is Like a Thousand Demons (Kojûto hitori oni senbiki ni mukau), What Is Joined Together May Be Separated (Awasemono wa hanaremono) (R); Entangled Balls (Kindama

狂斎百図  「女房と畳は新しいが良い」 「小姑一人鬼千匹にむかう」 「合物ははなれもの」  「金玉モツリ方」 「下手のよこずき」

Edo period
1863–66 (Bunkyû 3–Keiô 2)

Catalogue Raisonné

Kaikan sanjû shûnen kinen Kawanabe Kyôsai kinen bijutsukan cat. (2008), p. 102, #0773 (sheet of 4); Oikawa and Yamaguchi, Kyôsai no giga (1992), #91 (right side only)


Two vertical yotsugiri (quarter ôban) on uncut horizontal chûban sheet; 18.1 x 24 cm (7 1/8 x 9 7/16 in.)

Accession Number


Medium or Technique

Woodblock print (nishiki-e); ink and color on paper

Not On View


Asia, Prints and Drawings



MFA impressions:
Uncut sheet: 11.45393.21
Right side only: 11.22646, 11.36997
Left side only: 11.22641, 11.37000

Album containing 50 designs (half of the series?): 11.45393.1-25


Kyôsai (right side), Kyôsai (on painting, left side)


By 1911, purchased by William Sturgis Bigelow (b. 1850–d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: January 19, 2005)

[1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

Credit Line

William Sturgis Bigelow Collection