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Ehon Atsumegusa Yamachichi
is the Japanese term for picture books. It may be applied in the general sense, or may refer specifically to a type of woodblock printed illustrated volume published in the Edo period (1603–1867). The first were religious items with images by Buddhist painters. Those from the Muromachi period are typically known as . In the early modern period (1600–1868) illustrated books exploded in popularity. They covered a diverse range of subjects with experimentation in production techniques. production was a significant part of the Japanese publishing industry (particularly) during the 19th century; most Japanese woodblock print artists of the period produced designs (often in large quantities), as commercial work. Toward the end of the 19th century, chapter-books were eclipsed in popularity by the new "Western" concept of literary magazines. These were larger books which contained more, and a wider range of material per-issue, but usually fewer pictures (measured on a text-to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bunchō
Ippitsusai Bunchō (, ) was a Japanese ukiyo-e artist, best known for his ''yakusha-e'' actor prints in narrow ''hosoban'' dimensions. Bunchō and Katsukawa Shunshō are credited with having developed kabuki actor portraiture focuses on producing likenesses of the subjects, rather than stereotyped faces. Little is known about Bunchō's life. His birth surname was Mori, and he is believed to have studied painting under Ishikawa Yukimoto of the Kanō school. The earliest known works attributed to Bunchō are the illustrations to Hachimonji Jishō II's ''Eiga asobi nidai otoko'' (1755). Between 1766 and 1774 he made a large number of actor prints in the narrow vertical ''hosoban'' dimensions. In 1770 he produced the three-volume ''Ehon butai ōgi'' (, "Picture-book of Stage Fans") with Katsukawa Shunshō, which depicts the leading kabuki actors of the day on ''ōgi'' hand fans; Bunchō handled the ''onnagata''—male actors who portray female characters. It was popular an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
100 Views Of Mount Fuji
is a series of three illustrated books by Japanese ukiyo-e artist Hokusai. It is considered one of Japan's most exceptional illustrated books (''e-hon''), and alongside the '' Hokusai Manga'', the most influential in the West. The first two volumes were published in 1834 and 1835, shortly after completion of his seminal '' Thirty-six Views of Mount Fuji'', with a third released in the late 1840s. The books contain over a hundred views of Mount Fuji in various styles and settings; Hokusai shows the peak in pure landscapes, with flora and fauna, in religious and mythological scenes and with different atmospheric effects, but above all, he focuses on ordinary people at work. The first two volumes are celebrated for their very high standards of woodblock printing, with "extremely fine cutting" and "exquisite gradation" ('' bokashi'') of the grey blocks; they have been called a "masterpiece of monochrome printing". Publication The first two volumes have embossed pink covers and f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hokusai Manga
The is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural. The word ''manga'' in the title does not refer to the contemporary story-telling ''manga'', as the sketches in the work are not connected to each other. Block-printed in three colours (black, gray and pale flesh), the Manga comprise thousands of images in fifteen volumes, the first published in 1814, when the artist was 55. The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians. Publication history The preface to the first volume of the work, written by , a minor artist of Nagoya, suggests that the publication of the work may be aided by Hokusai's pupils. Part of the preface reads: The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hokusai
, known simply as Hokusai, was a Japanese ukiyo-e artist of the Edo period, active as a painter and printmaker. He is best known for the woodblock printing in Japan, woodblock print series ''Thirty-Six Views of Mount Fuji'', which includes the iconic print ''The Great Wave off Kanagawa''. Hokusai was instrumental in developing ''ukiyo-e'' from a style of portraiture largely focused on courtesans and actors into a much broader style of art that focused on landscapes, plants, and animals. Hokusai created the monumental ''Thirty-Six Views of Mount Fuji'' as a response to a domestic travel boom in Japan and as part of a personal interest in Mount Fuji. It was this series, specifically, ''The Great Wave off Kanagawa'' and ''Fine Wind, Clear Morning'', that secured his fame both in Japan and overseas. Hokusai was best known for his woodblock ukiyo-e prints, but he worked in a variety of mediums including painting and book illustration. Starting as a young child, he continued workin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tokugawa Shogunate
The Tokugawa shogunate (, Japanese 徳川幕府 ''Tokugawa bakufu''), also known as the , was the military government of Japan during the Edo period from 1603 to 1868. Nussbaum, Louis-Frédéric. (2005)"''Tokugawa-jidai''"in ''Japan Encyclopedia'', p. 978.Nussbaum"''Edo-jidai''"at p. 167. The Tokugawa shogunate was established by Tokugawa Ieyasu after victory at the Battle of Sekigahara, ending the civil wars of the Sengoku period following the collapse of the Ashikaga shogunate. Ieyasu became the ''shōgun,'' and the Tokugawa clan governed Japan from Edo Castle in the eastern city of Edo (Tokyo) along with the ''daimyō'' lords of the ''samurai'' class.Nussbaum"Tokugawa"at p. 976. The Tokugawa shogunate organized Japanese society under the strict Tokugawa class system and banned most foreigners under the isolationist policies of ''Sakoku'' to promote political stability. The Tokugawa shoguns governed Japan in a feudal system, with each ''daimyō'' administering a ''han'' (f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yoshiwara
was a famous (red-light district) in Edo, present-day Tokyo, Japan. Established in 1617, Yoshiwara was one of three licensed and well-known red-light districts created during the early 17th century by the Tokugawa shogunate, alongside Shimabara in Kyoto in 1640Avery, Anne Louise. ''Flowers of the Floating World: Geisha and Courtesans in Japanese Prints and Photographs, 1772–1926'' xhibition Catalogue(Sanders of Oxford & Mayfield Press: Oxford, 2006) and Shinmachi in Osaka. Created by the shogunate to curtail the tastes of and sequester the nouveau riche (merchant) classes, the entertainment offered in Yoshiwara, alongside other licensed districts, would eventually give rise to the creation of geisha, who would become known as the fashionable companions of the classes and simultaneously cause the demise of , the upper-class courtesans of the red-light districts. History 17th and 18th century The licensed district of Yoshiwara was created in the city of Edo, near to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hokku
is the opening stanza of a Japanese orthodox collaborative linked poem, ''renga'', or of its later derivative, ''renku'' (''haikai no renga''). From the time of Matsuo Bashō (1644–1694), the ''hokku'' began to appear as an independent poem, and was also incorporated in haibun (in combination with prose). In the late 19th century, Masaoka Shiki (1867–1902) renamed the standalone ''hokku'' as "''haiku''", and the latter term is now generally applied retrospectively to all ''hokku'' appearing independently of ''renku'' or ''renga'', irrespective of when they were written. The term ''hokku'' continues to be used in its original sense, as the opening verse of a linked poem. Content Within the traditions of renga and renku, the ''hokku'', as the opening verse of the poem, has always held a special position. It was traditional for the most honoured guest at the poetry-writing session to be invited to compose it and he would be expected to offer praise to his host and/or deprecate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suzuki Harunobu
Suzuki Harunobu ( ja, 鈴木 春信; ) was a Japanese designer of woodblock print art in the style. He was an innovator, the first to produce full-color prints () in 1765, rendering obsolete the former modes of two- and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties. Like many artists of his day, Harunobu also produced a number of , or erotic images. During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown. Influences Though some scholars assert that Harunobu was originally from Kyoto, pointing to possible influences from Nishikawa Sukenobu, much of his work, in particular his early work, is in the Edo style. His work shows evidence of influences from many artists, including Torii Kiyomitsu, Ishikawa Toyonobu, the Kawamata s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ehon Seirō Bijin Awase
is the Japanese term for picture books. It may be applied in the general sense, or may refer specifically to a type of woodblock printed illustrated volume published in the Edo period (1603–1867). The first were religious items with images by Buddhist painters. Those from the Muromachi period are typically known as . In the early modern period (1600–1868) illustrated books exploded in popularity. They covered a diverse range of subjects with experimentation in production techniques. production was a significant part of the Japanese publishing industry (particularly) during the 19th century; most woodblock printing in Japan, Japanese woodblock print Schools of ukiyo-e artists, artists of the period produced designs (often in large quantities), as commercial work. Toward the end of the 19th century, chapter-books were eclipsed in popularity by the new "Western" concept of literary magazines. These were larger books which contained more, and a wider range of material per- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kappazuri
, also known as ''kappa-zuri'', ''kappazuri-e'' (), and as ''katagamizuri-e'' (), are Japanese prints Woodblock printing in Japan (, ''mokuhanga'') is a technique best known for its use in the ''ukiyo-e'' artistic genre of single sheets, but it was also used for printing books in the same period. Widely adopted in Japan during the Edo period (160 ... printed in a single color (usually black) from woodblocks and then colored by stenciling. Prints produced entirely by stenciling, without woodblocks, are also called ''kappazuri''. Kappazuri may be identified by the presence of visible brushstrokes, unevenness of color, pooling of ink at the margins of the stencil cutouts, and gaps or overlaps between colored areas and black outlines. Although also produced in Edo (Tokyo), Kappazuri are more closely associated with prints from Osaka and Kyoto. The most prolific designer of Kappazuri was Urakusai Nagahide, and the most abundant examples are his depictions of the annual costume ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
_by_Nakamura_Nagahide_titled_‘Sakie_of_the_Hanabishiya’.jpg "Click for more on -> Kappazuri")