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Ukiyo-e [a] (浮世絵) is a genre of Japanese art that flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica.
The Great Wave off Kanagawa (神奈川沖浪裏, Kanagawa-oki nami-ura) print by Hokusai Metropolitan Museum of Art. Woodblock printing in Japan (木版画, mokuhanga) is a technique best known for its use in the ukiyo-e [1] artistic genre of single sheets, but it was also used for printing books in the same period.
Schools (流派): Schools of ukiyo-e artists; Senso-e (戰爭絵); prints depicting the Sino-Japanese and Russo-Japanese Wars; Shin-hanga (新版画, "New prints"); 20th century ukiyo-e revival prints; Shini-e (死絵); "death pictures" or "death portraits" Shita-e (下絵); final preparatory drawing pasted onto the block for printing
Though his were not the first perspective prints in ukiyo-e, they were the first to appear as full-colour nishiki-e, and they demonstrate a much greater mastery of perspective techniques than the works of his predecessors. Toyoharu was the first to make the landscape a subject of ukiyo-e art, rather than just a background to figures and events.
Toyokuni Utagawa by Kunisada. Utagawa Toyokuni (Japanese: 歌川豊国; 1769 – 24 February 1825), also often referred to as Toyokuni I, to distinguish him from the members of his school who took over his gō after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints.
His works include a number of ukiyo-e landscape series, as well as many depictions of the daily activities in the Yoshiwara entertainment quarter; many of his stylistic features paved the way for Hokusai and Hiroshige (the latter a prodigy who studied under Toyohiro, becoming one of the very finest of all landscape artists), as well as ...
Uki-e (浮絵, "floating picture", implying "perspective picture") refers to a genre of ukiyo-e pictures that employs western conventions of linear perspective. Although they never constituted more than a minor genre, pictures in perspective were drawn and printed by Japanese artists from their introduction in the late 1730s through to the mid ...
In fact, in ukiyo-e bijin-ga, it was not considered important that the picture resemble the facial features of the model, and the depiction of women in ukiyo-e bijin-ga is stylized rather than an attempt to create a realistic image; [4] For example, throughout the Edo period (1603–1867), married women had a custom of shaving their eyebrows ...