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Keisai Eisen (渓斎 英泉, 1790–1848) was a Japanese ukiyo-e artist who specialised in bijin-ga (pictures of beautiful women). His best works, including his ōkubi-e ("large head pictures"), are considered to be masterpieces of the "decadent" Bunsei Era (1818–1830). He was also known as Ikeda Eisen, and wrote under the name of Ippitsuan.
Kōjien defines bijin-ga as a picture that simply "emphasizes the beauty of women", [1] and the Shincho Encyclopedia of World Art defines it as depiction of "the beauty of a woman's appearance". [2] On the other hand, Gendai Nihon Bijin-ga Zenshū Meisaku-sen I defines bijin-ga as pictures that explore "the inner beauty of women". [3]
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An Urban Couple Amidst their Clothing by Keisai Eisen, From the series Grass on the Way of Love (Koi no michikusa), c. 1825, Honolulu Museum of Art Date circa 1825
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Shunga by Keisai Eisen. Shunga was probably enjoyed by both men and women of all classes. Superstitions and customs surrounding shunga suggest as much; in the same way that it was considered a lucky charm against death for a samurai to carry shunga, it was considered a protection against fire in merchant warehouses and the home. From this we ...
The Sixty-nine Stations of the Kisokaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints. [ 16 ] The Sixty-nine Stations of the Kisokaidō was issued jointly by Takenouchi and Iseya Rihei . [ 17 ]
Other prominent Japanese artists to use it included Keisai Eisen, Utagawa Kunisada and Utagawa Sadahide. The theory that aizuri-e production was prompted by the 1842 sumptuary laws known as the Tenpō Reforms is no longer widely accepted.