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Torii Kiyomasu
was a Japanese painter and printmaker of the Torii school, in the genre of ''ukiyo-e''. Like the other Torii artists, his primary focus was on Kabuki billboards, advertisements, actor prints, and other related material. Many scholars believe Kiyomasu to have been the younger brother or son of Torii Kiyonobu I, one of the founders of the school, or to have been an alternate art-name (''gō'') for the same man. In the 1710s, prints signed with Kiyomasu's name far outnumber those with the signature of Kiyonobu. If the two were distinct artists, this could indicate that the elder artist, the head of the school, devoted more time to the kabuki billboards and other works which were more the official province of the workshop, while the younger was left to do prints. On the other hand, even if the two were the same person, this could simply be explained by the use of different names on different types of work. Though his style is said to be somewhat more graceful than Kiyonobu's, they a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Torii Kiyomasu - Ichikawa Danjuro I In Role Of Takenuki Goro
A is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred. The presence of a ''torii'' at the entrance is usually the simplest way to identify Shinto shrines, and a small ''torii'' icon represents them on Japanese road maps. The first appearance of ''torii'' gates in Japan can be reliably pinpointed to at least the mid-Heian period; they are mentioned in a text written in 922. The oldest existing stone ''torii'' was built in the 12th century and belongs to a Hachiman shrine in Yamagata Prefecture. The oldest existing wooden ''torii'' is a ''ryōbu torii'' (see description below) at Kubō Hachiman Shrine in Yamanashi Prefecture built in 1535. ''Torii'' gates were traditionally made from wood or stone, but today they can be also made of reinforced concrete, copper, stainless steel or other materials. They are usually either unpainted or painted vermilion with a b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Torii School
A is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred. The presence of a ''torii'' at the entrance is usually the simplest way to identify Shinto shrines, and a small ''torii'' icon represents them on Japanese road maps. The first appearance of ''torii'' gates in Japan can be reliably pinpointed to at least the mid-Heian period; they are mentioned in a text written in 922. The oldest existing stone ''torii'' was built in the 12th century and belongs to a Hachiman shrine in Yamagata Prefecture. The oldest existing wooden ''torii'' is a ''ryōbu torii'' (see description below) at Kubō Hachiman Shrine in Yamanashi Prefecture built in 1535. ''Torii'' gates were traditionally made from wood or stone, but today they can be also made of reinforced concrete, copper, stainless steel or other materials. They are usually either unpainted or painted vermilion with a bl ... [...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] |
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] |
Yakusha-e
''Yakusha-e'' (役者絵), often referred to as "actor prints" in English, are Japanese woodblock prints or, rarely, paintings, of kabuki actors, particularly those done in the ''ukiyo-e'' style popular through the Edo period (1603–1867) and into the beginnings of the 20th century. Most strictly, the term ''yakusha-e'' refers solely to portraits of individual artists (or sometimes pairs, as seen in this work by Sharaku). However, prints of kabuki scenes and of other elements of the world of the theater are very closely related, and were more often than not produced and sold alongside portraits. ''Ukiyo-e'' images were almost exclusively images of urban life; the vast majority that were not landscapes were devoted to depicting courtesans, sumo, or kabuki. Realistic detail, inscriptions, the availability of playbills from the period, and a number of other resources have allowed many prints to be analyzed and identified in great detail. Scholars have been able to identify the subj ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Torii Kiyonobu I
Torii Kiyonobu I ( ja, 鳥居 清信; – 22 August 1729) was a Japanese painter and printmaker in the ukiyo-e style, who is renowned for his work on kabuki signboards and related materials. Along with his father Torii Kiyomoto, he is said to have been one of the founders of the Torii school of painting. Known in childhood as Shōbei, young Kiyonobu was the second son of the established Osaka kabuki actor and painter Torii Kiyomoto, born in 1664. He moved, with his father, to Edo (modern Tokyo) when he was twenty-four, and emerged there as a major artist with a unique style. Kiyonobu's work is regarded as being highly influenced by that of Hishikawa Moronobu (d. 1694), the father of ukiyo-e; Kiyonobu would also have been well-versed, as most major artists were at the time, in the styles of the Kanō and Tosa schools. Kiyonobu focused almost exclusively on producing billboards and other promotional material for Edo's kabuki theaters; the relationship betwe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art-name
An art name (pseudonym or pen name), also known by its native names ''hào'' (in Mandarin), ''gō'' (in Japanese), ''ho'' (in Korean), and ''tên hiệu'' (in Vietnamese), is a professional name used by East Asian artists, poets and writers. The word and the concept originated in China, where it was used as nicknames of the educated, then became popular in other East Asian countries (especially in Japan, Korea, Vietnam, and the former Kingdom of Ryukyu). In some cases, artists adopted different pseudonyms at different stages of their career, usually to mark significant changes in their life. Extreme practitioners of this tendency were Tang Yin of the Ming dynasty, who had more than ten ''hao'', and Hokusai of Japan, who in the period 1798 to 1806 alone used no fewer than six. History China In Chinese culture, ''Hao'' refers to honorific names made by oneself or given by others when one is in middle age. After one's gaining the ''Hao'', other persons may then call such a pers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hishikawa Moronobu
Hishikawa Moronobu ( ja, 菱川 師宣; 1618 – 25 July 1694) was a Japanese artist known for popularizing the ukiyo-e genre of woodblock prints and paintings in the late 17th century. He consolidated the works of scattered Japanese art styles and forged the early development of ukiyo-e. Early life Born in Hoda at the distant end of Edo Bay, Moronobu was the son of a well-respected embroiderer of rich tapestries who produced it for the use of temples and wealthy patrons. After moving to Edo in the 1660s, Moronobu, who had likely learned skills from his father's craft, and studied both Tosa and Kanō-style painting. He thus had a solid grounding in both decorative crafts and academic painting, which served him well when he then turned to ukiyo-e, which he studied with his mentor, the Kanbun Master. Work The earliest known illustration of Moronobu that can be dated comes from his work titled ''One Hundred Warrior Poets'' from 1672, although earlier works are yet possibl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sugimura Jihei
was a Japanese ''ukiyo-e'' printmaker who flourished from approximately 1681 to 1703. He is noted by art historian and ''ukiyo-e'' collector Richard Lane as an “indirect pupil” of Hishikawa Moronobu. Much of Sugimura's work was once attributed to fellow followers of Moronobu, or Moronobu himself. In the 1920s, however, unsigned prints were discovered to have hidden signatures of Sugimura's incorporated in the drawing of the clothing folds. It appears Sugimura preferred (unlike most ''ukiyo-e'' artists) to sign with his surname rather than his given name. There are few contemporary texts with information on Sugimura. The earliest mention of him can be found in a directory of Edo artists from 1689, the ''Edo Zukan Kompuku,'' where he is listed with his name and address as “Woodblock Artist, Sugimura Jihei Masataka, Tori-Aburacho.” Ryutei Tanahiko's ''Yoshabako,'' published in 1841, also credits Sugimura as illustrator of two books which are not known to be extant. Sugim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Torii Kiyomasu II
was a Japanese ''ukiyo-e'' painter and woodblock printmaker of the Torii school, a specialist, like the rest of the Torii artists, in billboards and other images for the promotion of the kabuki theatres. Scholars are unsure as to Kiyomasu II's relation to the original Kiyomasu who came a few decades earlier; they may have been close relations, or master and student, or they may have been the same man. His prints, like many at the time, were made largely using the ''urushi-e'' (lacquer print) and '' benizuri-e'' (rose print) methods; the lines or outlines of the prints themselves would often be in monochrome or a limited number of colors and the rest would be done by hand. Richard Lane writes that the majority of Kiyomasu's work is "quite stereotyped, lacking in vitality or fertility of invention." Lane, Richard (1978). "Images of the Floating World." Old Saybrook, CT: Konecky & Konecky. p74. He writes the same of the works of Torii Kiyonobu II Torii Kiyonobu II ( ja, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Douglas Lane
Richard Douglas Lane (1926–2002) was an American scholar, author, collector, and dealer of Japanese art. He lived in Japan for much of his life, and had a long association with the Honolulu Museum of Art in Hawaii, which now holds his vast art collection. Life Lane was born in Kissimmee, Florida. After graduating from high school in 1944, during World War II, he enlisted in the United States Marine Corps. In the Marines he trained as a Japanese translator, and served in Japan during the war. He later received a bachelor's degree from the University of Hawaii in Japanese and Chinese literature, and continued his studies at Columbia University, where he earned a master's degree and a PhD in 18th-century Japanese literature. In 1957, Lane moved to Japan, where he lived for the rest of his life. Lane was never on a university faculty, but supported himself as an author, dealer and consultant. He was a visiting research associate at the Honolulu Museum of Art from 1957 to 1971, durin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ukiyo-e Artists
Ukiyo-e is a genre of Japanese art which 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 term translates as "picture 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 the social order, benefited the most from the city's rapid economic growth, and began to indulge in and patronise the entertainment of kabuki theatre, geisha, and courtesans of the pleasure districts; the term ("floating world") came to describe this hedonistic lifestyle. Printed or painted ukiyo-e works were popular with the ''chōnin'' class, who had become wealthy enough to afford to decorate their homes with them. The earliest ukiyo-e works eme ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
