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Between 2004 and 2005, Tenmyouya completed a series of acrylic on wood paintings entitled New Version of Six Ghost Stories (新形六怪撰). The six images are reworkings of famous Japanese ghost stories, such as Tokaido Yotsuya Ghost Story and Kohata Koheiji Ghost Story, which were rendered in woodblocks by Edo artists. [33]
One Hundred Ghost Stories (Japanese: 百物語, romanized: Hyaku monogatari) is a series of ukiyo-e woodblock prints made by Katsushika Hokusai (1760–1849) in the Yūrei-zu genre circa 1830. He created this series around the same time he was creating his most famous works, the Thirty-six Views of Mount Fuji series. There are only five prints ...
Utagawa Kuniyoshi's portrait of Oiwa.. Yotsuya Kaidan (四谷怪談), the story of Oiwa and Tamiya Iemon, [a] is a tale of betrayal, murder and ghostly revenge.Arguably the most famous Japanese ghost story of all time, it has been adapted for film over 30 times and continues to be an influence on Japanese horror today.
All Japanese ghosts are called yūrei, and there are several types within this classification. However, a given ghost may be described by more than one of the following terms, as the following terms are used differently depending on which elements of a ghost's characteristics are focused on:
Kuchisake-onna (口裂け女, 'Slit-Mouthed Woman') [1] is a malevolent figure in Japanese urban legends and folklore. Described as the malicious spirit, or onryō, of a woman, she partially covers her face with a mask or other item and carries a pair of scissors, a knife, or some other sharp object. She is most often described as a tall woman ...
Kwaidan: Stories and Studies of Strange Things (怪談, Kaidan, also Kwaidan (archaic)), often shortened to Kwaidan ("ghost story"), is a 1904 book by Lafcadio Hearn that features several Japanese ghost stories and a brief non-fiction study on insects. [1] It was later used as the basis for a 1964 film, Kwaidan, by Masaki Kobayashi. [2]
Japanese novelist Haruki Murakami hosted a ghost story reading event in Tokyo amid growing attention before the announcement of this year's Nobel Prize in literature, an award he is a perennial ...
Still, Ōkyo's works remain Japanese. Unlike European painting, Ōkyo's images have very few midtones. Moreover, he follows the Eastern tradition in depicting objects with very little setting; often his pictures feature a single subject on a plain background. [5] The result is a more immediate naturalism [5] with a decorative and reflective ...