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Gogawa2
The Go Gawa poetry club (Japanese 五側), also known as the Group of Five poetry club or Gogawa poetry group, was a famous poetry club in Edo, Japan, during the early 19th century. Artists working for the group often wrote poetry on illustrated surimono, and signed their work with the Go Gawa symbol, an hourglass resembling the number five. By 1836, the club had already met 1,600 times.Hokkei "Monkey Trainer" surimono description, Museum of Fine Arts, Boston, 2013. William Sturgis Bigelow Collection. History The club was associated with the Ichikawa acting family of Japan, and led by Rokujuen (Ichikawa Danjûro VII, also known as Ichikawa Masamochi or Yadoya Meshimori, 1753-1830). A kabuki actor, Rokujuen was also a scholar of Japanese classics, and translator of Chinese fables. Though earlier involved in Edo's artistic community, he had been banished from the town after a confrontation with authorities regarding his management of an inn. Rokujuen returned to Edo at the beginni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gogawa2
The Go Gawa poetry club (Japanese 五側), also known as the Group of Five poetry club or Gogawa poetry group, was a famous poetry club in Edo, Japan, during the early 19th century. Artists working for the group often wrote poetry on illustrated surimono, and signed their work with the Go Gawa symbol, an hourglass resembling the number five. By 1836, the club had already met 1,600 times.Hokkei "Monkey Trainer" surimono description, Museum of Fine Arts, Boston, 2013. William Sturgis Bigelow Collection. History The club was associated with the Ichikawa acting family of Japan, and led by Rokujuen (Ichikawa Danjûro VII, also known as Ichikawa Masamochi or Yadoya Meshimori, 1753-1830). A kabuki actor, Rokujuen was also a scholar of Japanese classics, and translator of Chinese fables. Though earlier involved in Edo's artistic community, he had been banished from the town after a confrontation with authorities regarding his management of an inn. Rokujuen returned to Edo at the beginni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Courtesans Strolling Beneath Cherry Trees Before The Daikokuya Teahouse, Probably 1789
Courtesan, in modern usage, is a euphemism for a "kept" mistress (lover), mistress or prostitute, particularly one with wealthy, powerful, or influential clients. The term historically referred to a courtier, a person who attended the Royal court, court of a monarch or other powerful person. History In European feudalism, feudal society, the court was the centre of government as well as the residence of the monarch, and social and political life were often completely mixed together. Prior to the Renaissance, courtesans served to convey information to visiting dignitaries, when servants could not be trusted. In Renaissance Europe, courtiers played an extremely important role in upper-class society. As it was customary during this time for royal couples to lead separate lives—commonly marrying simply to preserve bloodlines and to secure political alliances—men and women would often seek gratification and companionship from people living at court. In fact, the verb 'to court' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Surimono
are a genre of Japanese woodblock print. They were privately commissioned for special occasions such as the New Year. Surimono literally means "printed thing". Being produced in small numbers for a mostly educated audience of ''literati'', surimono were often more experimental in subject matter and treatment, and extravagant in printing technique, than commercial prints. They were most popular from the 1790s to the 1830s, and many leading artists produced them. One of the most famous woodblock artists who got his start from producing surimono was Suzuki Harunobu, credited with being the genius behind the later introduction (in the 1760s) of Nishiki-e ("brocade prints"). Use In most cases, surimono were commissioned by poetry societies to illustrate the winning poem in a poetry contest judged by the master of the society. Such prints generally had a small format, often c. 205 × 185 mm, and the relief carving of the Kanji characters took a great deal of technical skill. Ka ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kabuki
is a classical form of Japanese dance-drama. Kabuki theatre is known for its heavily-stylised performances, the often-glamorous costumes worn by performers, and for the elaborate make-up worn by some of its performers. Kabuki is thought to have originated in the very early Edo period, when founder Izumo no Okuni formed a female dance troupe who performed dances and light sketches in Kyoto. The art form later developed into its present all-male theatrical form after women were banned from performing in kabuki theatre in 1629. Kabuki developed throughout the late 17th century and reached its zenith in the mid-18th century. In 2005, kabuki theatre was proclaimed by UNESCO as an intangible heritage possessing outstanding universal value. In 2008, it was inscribed in the UNESCO Intangible Cultural Heritage Lists, UNESCO Representative List of the Intangible Cultural Heritage of Humanity. Etymology The individual kanji that make up the word ''kabuki'' can be read as , , and . ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bunka
was a after ''Kyōwa'' and before ''Bunsei''. The period spanned the years from January 1804 to April 1818. The reigning emperors were and . Change of era * February 11, 1804 (): The new era name of ''Bunka'' ( meaning "Culture" or "Civilization") was created to mark the start of a new 60-year cycle of the Heavenly Stem and Earthly Branch system of the Chinese calendar which was on New Year's Day, thnew moon dayof 2 November 1804. The previous era ended and a new one commenced in ''Kyōwa'' 4. Events of the ''Bunka'' era * 1804 (''Bunka 1''): ''Daigaku-no-kami'' Hayashi Jussai (1768–1841) explained the shogunate foreign policy to Emperor Kōkaku in Kyoto. * June 1805 (''Bunka 2''): Genpaku Sugita (1733–1817) is granted an audience with Shōgun Ienari to explain differences between traditional medical knowledge and Western medical knowledge. * September 25, 1810 (''Bunka 7, 27th day of the 8thmonth''): Earthquake in northern Honshū (Latitude: 39.900/Longitude: 139.900), 6 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bunsei
was a after ''Bunka'' and before ''Tenpō''. This period spanned the years from April 1818 through December 1830. The reigning emperor was . Change of era * April 22, 1818 (): The new era name was created to mark the enthronement of the emperor Emperor Ninko in ''Bunka'' 15. The new era name was drawn from an aphorism attributed to the ancient Chinese emperor, Great Shun (大舜): "Shun reads the Heavens, and so brings together all seven governments" (舜察天文、斉七政). Events of the ''Bunsei'' era * 1822 (''Bunsei 5''): Edo was struck with 150 earthquake tremors over three days.Hammer, Joshua. (2006)''Yokohama Burning: The Deadly 1923 Earthquake and Fire that Helped Forge the Path to World War II'', p. 63./ref> * August 11, 1823 (''Bunsei 6, 6th day of the 7th month''): German flora- and fauna-taxonomist Philipp Franz von Siebold arrives at Dejima as new physician for the Dutch trading post in Nagasaki harbor. ''Bakufu'' policy in this era was designed to marginali ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenpō
was a after ''Bunsei'' and before ''Kōka.'' The period spanned from December 1830 through December 1844. The reigning emperor was . Introduction Change of era * December 10, 1830 () : In the 13th year of ''Bunsei'', the new era name of ''Tenpō'' (meaning "Heavenly Imperial Protection") was created to mark the disasters of a great fire in Edo and an earthquake at Kyoto. The new era name was created from an hortatory aphorism: "Respect and worship the Ways of heaven. Eternally keep the Mandate of Heaven" (欽崇天道、永保天命). The Tenpō era is often described as the beginning of the end of bakufu government. Though the era accomplished much through its reforms, and also culturally speaking, the injury inflicted on the Tokugawa system of government during the Tenpō period was unparalleled. Public order and dissatisfaction with government was a main issue, but the bakufu was not entirely at fault for the stir amongst the people. For example, the failure of crops in ... [...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] |
Schools Of Ukiyo-e Artists
Ukiyo-e artists may be organized into schools, which consist of a founding artist and those artists who were taught by or strongly influenced by him. Artists of the Osaka school are united both stylistically and geographically.Assignment of artists into schools is derived from ''Hotei Encyclopedia of Japanese Woodblock Prints,'' 2005 Not all of these artists designed woodblock prints, and some ukiyo-e artists had more than one teacher, and others are not known to be associated with any particular school. Asayama school (in Osaka) :Asayama Ashikuni (founder) :Ashisato :Ashifune :Ashihiro :Ashikiyo :Asayama Ashitaka :Asayama Ashitomo : Gigadō Ashiyuki (Nagakuni) :Jukōdō Yoshilkuni Eishi school (also known as Hosoda school) :Chōbunsai Eishi (founder) :Ichirakute Eisui :Chōkōsai Eishō :Chōkyōsai Eiri :Gessai Gabimaru :Chōensai Eishin :Rekisentei Eiri :Harukawa Eizan Furuyama school : Furuyama Moroshige (founder) :Furuyama Moromasa :Furuyama Morotane :Furuyama Morotsug ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ukiyo-e
Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings Painting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and ai ... of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; Flora of Japan, flora and Wildlife of Japan#Fauna, fauna; and Shunga, erotica. The term translates as "picture[s] of the floating world". In 1603, the city of Edo (Tokyo) became the seat of the ruling Tokugawa shogunate. The ''chōnin'' class (merchants, craftsmen and workers), positioned at the bottom of Four occupations, the social order, benefited the most from the city's rapid economic growth, and began to indulge in and patronise the entertainment o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kunisada
Utagawa Kunisada ( ja, 歌川 国貞; 1786 – 12 January 1865), also known as Utagawa Toyokuni III (, ), was a Japanese ukiyo-e artist. He is considered the most popular, prolific and commercially successful designer of ukiyo-e woodblock printing in Japan, woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Utagawa Kuniyoshi, Kuniyoshi. Evaluation of Kunisada in art history At the end of the Edo period (1603–1867), Hiroshige, Kuniyoshi and Kunisada were the three best representatives of the Japanese color woodcut in Edo (capital city of Japan, now Tokyo). However, among European and American collectors of Japanese prints, beginning in the late 19th and early 20th century, all three of these artists were actually regarded as rather inferior to the greats of classical ukiyo-e, and therefore as having contributed considerably to the downfall of their art. For this reason, some referred to t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Japanese Poetry
Japanese poetry is poetry typical of Japan, or written, spoken, or chanted in the Japanese language, which includes Old Japanese, Early Middle Japanese, Late Middle Japanese, and Modern Japanese, as well as poetry in Japan which was written in the Chinese language or '' ryūka'' from the Okinawa Islands: it is possible to make a more accurate distinction between Japanese poetry written in Japan or by Japanese people in other languages versus that written in the Japanese language by speaking of Japanese-language poetry. Much of the literary record of Japanese poetry begins when Japanese poets encountered Chinese poetry during the Tang dynasty (although the Chinese classic anthology of poetry, ''Shijing'', was well known by the literati of Japan by the 6th century). Under the influence of the Chinese poets of this era Japanese began to compose poetry in Chinese '' kanshi''); and, as part of this tradition, poetry in Japan tended to be intimately associated with pictorial painting, p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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