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Utagawa Kunisada II
Utagawa Kunisada II (, 1823 – 20 July 1880) was a Japanese ''ukiyo-e'' print designer, one of three to take the name "Utagawa Kunisada". He headed the Utagawa school. Life and career Little is known of Kunisada II's early life. A pupil of Utagawa Kunisada I, he signed much of his early work "Kunimasa III". His earliest known prints date to 1844. Kunisada I adopted him in 1846 after he married the master's daughter Osuzu. He took the name Kunisada II , about the time he inherited the house of Kunisada I. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is now often known as Toyokuni IV. Kunisada II worked in the style of his master, but never achieved the same level of success. His prints include over 40 series, mostly of actors (''yakusha-e''), as well portraits of beauties, illustrations of scenes from literature, erotica, and other subjects. He ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Signatures Of Kunisada I (left) And Kunisada II (center And Right)
A signature (; from la, signare, "to sign") is a handwritten (and often stylized) depiction of someone's name, nickname, or even a simple "X" or other mark that a person writes on documents as a proof of identity and intent. The writer of a signature is a signatory or signer. Similar to a handwritten signature, a signature work describes the work as readily identifying its creator. A signature may be confused with an autograph, which is chiefly an artistic signature. This can lead to confusion when people have both an autograph and signature and as such some people in the public eye keep their signatures private whilst fully publishing their autograph. Function and types The traditional function of a signature is to permanently affix to a document a person's uniquely personal, undeniable self-identification as physical evidence of that person's personal witness and certification of the content of all, or a specified part, of the document. For example, the role of a signatu ... [...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] |
Utagawa School
The Utagawa school () was one of the main schools of ukiyo-e, founded by Utagawa Toyoharu. It was the largest ukiyo-e school of its period. The main styles were bijin-ga (beautiful women) and uki-e (perspective picture). His pupil, Toyokuni I, took over after Toyoharu's death and led the group to become the most famous and powerful woodblock print school for the remainder of the 19th century. Hiroshige, Kunisada, Kuniyoshi and Yoshitoshi were Utagawa students. The school became so successful and well known that today more than half of all surviving ukiyo-e prints are from it. Founder Toyoharu adopted Western-style deep perspective, an innovation in Japanese art. His immediate followers, Utagawa Toyohiro and Toyokuni adopted bolder, more sensuous styles than Toyoharu and specialized in different genres — Toyohiro in landscapes and Toyokuni in kabuki actor prints. Later artists in the school specialized in other genres, such as warrior prints and mythic parodies.Johnson, Ke ... [...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] |
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] |
Kyokutei Bakin
(), a.k.a. (, 4 July 1767 – 1 December 1848), was a Japanese novelist of the Edo period. Born (), he wrote under the pen name (). Later in life he took the pen name (). Modern scholarship generally refers to him as , or just as n. He is regarded as one of, if not the, leading author of early 19th century Japanese literature. He was the third surviving son of a family of low rank. After numerous deaths in his family, he relinquished his status, married a merchant's widow, and became an townsperson. He was able to support his family with his prolific writing of , primarily didactic historical romances, though he always wanted to restore his family to the social class. Some of his best known works are (The Chronicles of the Eight Dog Heroes of the Satomi Clan of Nansō) consisting of 106 books and (Strange Tales of the Crescent Moon). published more than 200 works in his life, including literary critiques, diaries, and historical novels. Life and career Family an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nansō Satomi Hakkenden
''Nansō Satomi Hakkenden'' ( ja, 南総里見八犬伝, label=shinjitai; ja, 南總里見八犬傳, label=kyūjitai) is a Japanese epic novel (''yomihon'') written and published over twenty-eight years (1814–42) in the Edo period, by Kyokutei Bakin. Set in the Muromachi period, the story follows eight fictional warriors, connected spiritually but born into different families throughout the Kantō region, coming together and fighting as vassals of the Satomi clan; as well as numerous side plots. Bakin researched about the Satomi clan by referring to war tales about the Satomi clan and the Hōjō clan such as ''Satomiki'' (里見記), ''Satomi Kyudaiki'' (里見九代記) and ''Hojo Godaiki'' ( :ja:北条五代記), and completed the story line of Nansō Satomi Hakkenden by referring to them. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meiji Period
The is an era of Japanese history that extended from October 23, 1868 to July 30, 1912. The Meiji era was the first half of the Empire of Japan, when the Japanese people moved from being an isolated feudal society at risk of colonization by Western powers to the new paradigm of a modern, industrialized nation state and emergent great power, influenced by Western scientific, technological, philosophical, political, legal, and aesthetic ideas. As a result of such wholesale adoption of radically different ideas, the changes to Japan were profound, and affected its social structure, internal politics, economy, military, and foreign relations. The period corresponded to the reign of Emperor Meiji. It was preceded by the Keiō era and was succeeded by the Taishō era, upon the accession of Emperor Taishō. The rapid modernization during the Meiji era was not without its opponents, as the rapid changes to society caused many disaffected traditionalists from the former samurai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kunisada III
Utagawa Kunisada III (歌川国貞) (1848–1920) was an ''ukiyo-e'' printmaker of the Utagawa school, specializing in ''yakusha-e'' (pictures of kabuki actors). He began studying under Utagawa Kunisada I at the age of 10, and continued under Kunisada II after their master's death. He originally signed his prints "Kunimasa" or "Baidō Kunimasa". About 1889, he began signing his prints "Kunisada", "Baidō Kunisada" or "Kōchōrō Kunisada". By 1892, he was using "Hōsai", "Kōchōrō Hōsai", "Baidō Hōsai", and "Utagawa Hōsai".Newland, 2010, pp. 14 % 26 SinoFrench war Japanese depiction.jpg, Sino-French War, 1884. References * Newland, Amy Reigle, "In the Shadow of Another, Introducing the 'Meiji no Edokko' Baidō Hōsai", Andon, No 89, 2010, pp. 5–26. Footnotes Ukiyo-e artists 1848 births 1920 deaths 19th-century Japanese painters 20th-century Japanese painters 20th-century printmakers Kunisada III Utagawa Kunisada III (歌川国貞) (1848–1920 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanji
are the logographic Chinese characters taken from the Chinese family of scripts, Chinese script and used in the writing of Japanese language, Japanese. They were made a major part of the Japanese writing system during the time of Old Japanese and are still used, along with the subsequently-derived syllabic scripts of ''hiragana'' and ''katakana''. The characters have Japanese pronunciation, pronunciations; most have two, with one based on the Chinese sound. A few characters were invented in Japan by constructing character components derived from other Chinese characters. After World War II, Japan made its own efforts to simplify the characters, now known as shinjitai, by a process similar to China's simplified Chinese characters, simplification efforts, with the intention to increase literacy among the common folk. Since the 1920s, the Japanese government has published character lists periodically to help direct the education of its citizenry through the myriad Chinese characte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Utagawa Kunisada III
Utagawa Kunisada III (歌川国貞) (1848–1920) was an ''ukiyo-e'' printmaker of the Utagawa school, specializing in ''yakusha-e'' (pictures of kabuki actors). He began studying under Utagawa Kunisada I at the age of 10, and continued under Kunisada II after their master's death. He originally signed his prints "Kunimasa" or "Baidō Kunimasa". About 1889, he began signing his prints "Kunisada", "Baidō Kunisada" or "Kōchōrō Kunisada". By 1892, he was using "Hōsai", "Kōchōrō Hōsai", "Baidō Hōsai", and "Utagawa Hōsai".Newland, 2010, pp. 14 % 26 SinoFrench war Japanese depiction.jpg, Sino-French War, 1884. References * Newland, Amy Reigle, "In the Shadow of Another, Introducing the 'Meiji no Edokko' Baidō Hōsai", Andon, No 89, 2010, pp. 5–26. Footnotes Ukiyo-e artists 1848 births 1920 deaths 19th-century Japanese painters 20th-century Japanese painters 20th-century printmakers Kunisada III Utagawa Kunisada III (歌川国貞) (1848–1920 ... [...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] |
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