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Aizuri-e
The term ''aizuri-e'' (Japanese: "blue printed picture") usually refers to Japanese woodblock prints that are printed entirely or predominantly in blue. When a second color is used, it is usually red. Even if only a single type of blue ink was used, variations in lightness and darkness (value) could be achieved by superimposing multiple printings of parts of the design or by the application of a gradation of ink to the wooden printing block ('' bokashi''). The development of aizuri-e was associated with the import of the pigment Prussian blue from Europe in the 1820s. This pigment had a number of advantages over the indigo or dayflower petal dyes that were previously used to create blue. It was more vivid, had greater tonal range and was more resistant to fading. It proved to be particularly effective in expressing depth and distance, and its popularity may have been a major factor in establishing pure landscape as a new genre of ukiyo-e print. Early adopters included Hokusai i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Woodblock Printing In Japan
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 (1603–1868) and similar to woodcut in Western printmaking in some regards, the mokuhanga technique differs in that it uses water-based inks—as opposed to western woodcut, which typically uses oil-based inks. The Japanese water-based inks provide a wide range of vivid colors, glazes, and transparency. History Early, to 13th century In 764 the Empress Kōken commissioned one million small wooden pagodas, each containing a small woodblock scroll printed with a Buddhist text (''Hyakumantō Darani''). These were distributed to temples around the country as thanks for the suppression of the Emi Rebellion of 764. These are the earliest examples of woodblock printing known, or documented, from Japan. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
:Category:Japanese Words And Phrases
{{Commons Words and phrases by language Words Words A word is a basic element of language that carries an objective or practical meaning, can be used on its own, and is uninterruptible. Despite the fact that language speakers often have an intuitive grasp of what a word is, there is no consen ... Words ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hiroshige
Utagawa Hiroshige (, also ; ja, 歌川 広重 ), born Andō Tokutarō (; 1797 – 12 October 1858), was a Japanese ''ukiyo-e'' artist, considered the last great master of that tradition. Hiroshige is best known for his horizontal-format landscape series ''The Fifty-three Stations of the Tōkaidō'' and for his vertical-format landscape series ''One Hundred Famous Views of Edo''. The subjects of his work were atypical of the ''ukiyo-e'' genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular series '' Thirty-six Views of Mount Fuji'' by Hokusai was a strong influence on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints. Subtle use of color was essential in Hiroshige's prints, often printed with multiple impressions in the same area and with extensive use of '' bokashi'' (color gradation), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sawa Sekkyô
Sawa may refer to: Places * Sawa, Nepal, a village development committee * Sawa, Lesser Poland Voivodeship, Poland, a village * Saveh, sometimes transliterated Sāwa, Iran, a city * Sawa Lake, Iraq People * Sawa (Hrycuniak) (born Michał Hrycuniak in 1938), Metropolitan of Warsaw and all Poland and leader of the Polish Orthodox Church * Devon Sawa (born 1978), Canadian actor * Homare Sawa (born 1978), Japanese footballer * Masakatsu Sawa (born 1983), Japanese footballer * Munenori Sawa (born 1978), Japanese professional wrestler * , Japanese voice actress * Sawa (singer), Japanese techno-pop singer and DJ Other uses * Sawa Station (Ibaraki), a railway station in Hitachinaka, Ibaraki Prefecture, Japan * Sawa Station (Nagano), a railway station in Minowa, Nagano Prefecture, Japan * SAWA Defence Training Center, Eritrea, a military academy * SAWA (Non-profit organization) * Radio Sawa, an Arabic-language radio station * Sawa, legendary character from the myth of the founding of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenpō Reforms
The were an array of economic policies introduced between 1841 and 1843 by the Tokugawa shogunate in Japan. These reforms were efforts to resolve perceived problems in military, economic, agricultural, financial and religious systems. The changes were intended to address problems in local politics, but they were also addressed more broadly to "domestic uneasiness." The perceived need for change led to the arrest of many prominent political figures and writers. The reforms became a precursor of reforms initiated after the Meiji Restoration two decades later. The Tenpō Reforms were mostly instituted by Mizuno Tadakuni. Notably, the restrictions on entertainment were enforced solely by him and when he was removed from government in 1845, they ceased to be enforced. Besides this new coinage was issued and commodity price controls were lifted. Immigration to Edo was prohibited and the formation of societies as well as ''Rangaku'' (Dutch Learning) was banned. An annual calendar ( ''n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sumptuary Law
Sumptuary laws (from Latin ''sūmptuāriae lēgēs'') are laws that try to regulate consumption. '' Black's Law Dictionary'' defines them as "Laws made for the purpose of restraining luxury or extravagance, particularly against inordinate expenditures for apparel, food, furniture, etc." Historically, they were intended to regulate and reinforce social hierarchies and morals through restrictions on clothing, food, and luxury expenditures, often depending on a person's social rank. Societies have used sumptuary laws for a variety of purposes. They were used to try to regulate the balance of trade by limiting the market for expensive imported goods. They made it easy to identify social rank and privilege, and as such could be used for social discrimination. They could also be used to prevent, or at least reduce opportunities for political bribery and corruption. The laws often prevented commoners from imitating the appearance of aristocrats, and could be used to stigmatize disf ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Utagawa Sadahide
, also known as Gountei Sadahide (), was a Japanese artist best known for his prints in the ukiyo-e style as a member of the Utagawa school. His prints covered a wide variety of genres; amongst his best known are his ''Yokohama-e'' pictures of foreigners in Yokohama in the 1860s, a period when he was a best-selling artist. He was a member of the Tokugawa shogunate's delegation to the International Exposition of 1867 in Paris. Life and career Sadahide was born Hashimoto Kenjirō () in 1807 in Fusa Province (modern Chiba Prefecture) in Shimōsa. He joined Utagawa school master Kunisada's studio in the 1820s and become one of the master's most prominent students. As a member of the school, he took on Utagawa as a surname, and also used the surname Gountei as an art name, and also used his birth surname as an art name late in his career. In addition, when Utagawa Kunisada succeeded to the art name of Utagawa Toyokuni , his students followed suit and changed "Sada (貞)" to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Utagawa 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] |
Keisai Eisen
Keisai Eisen (渓斎 英泉, 1790–1848) was a Japanese ''ukiyo-e'' artist who specialised in ''bijin-ga'' (pictures of beautiful women). His best works, including his ''ōkubi-e'' ("large head pictures"), are considered to be masterpieces of the "decadent" Bunsei Era (1818–1830). He was also known as Ikeda Eisen, and wrote under the name of Ippitsuan. Biography Eisen was born in Edo into the Ikeda family, the son of a noted calligrapher. He was apprenticed to Kanō Hakkeisai, from whom he took the name Keisai, and after the death of his father he studied under Kikugawa Eizan. His initial works reflected the influence of his mentor, but he soon developed his own style. He produced a number of ''surimono'' (prints that were privately issued), erotic prints, and landscapes, including ''The Sixty-nine Stations of the Kiso Kaidō'', which he started and which was completed by Hiroshige. Eisen is most renowned for his ''bijin-ga'' (pictures of beautiful women) which portraye ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Great Wave Off Kanagawa
is a woodblock print by Japanese ''ukiyo-e'' artist Hokusai, created in late 1831 during the Edo period of Japanese history. The print depicts three boats moving through a storm-tossed sea, with a large wave forming a spiral in the centre and Mount Fuji visible in the background. The print is Hokusai's best-known work and the first in his series ''Thirty-six Views of Mount Fuji'', in which the use of Prussian blue revolutionized Japanese prints. The composition of ''The Great Wave'' is a synthesis of traditional Japanese prints and use of Perspective (graphical), graphical perspective developed in Europe, and earned him immediate success in Japan and later in Europe, where Hokusai's art inspired works by the Impressionism, Impressionists. Several museums throughout the world hold copies of ''The Great Wave'', many of which came from 19th-century private collections of Japanese prints. ''The Great Wave Kanagawa'' has been described as "possibly the most reproduced image in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kajikazawa In Kai Province
is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was produced as one of the '' Thirty-six Views of Mount Fuji'' series which was published from in the late Edo period. The image is considered one of the masterpieces of the series, particularly in its early blue impression (''aizuri-e''). Standing precariously upon a rocky outcrop, a man casts his net onto the violent Fuji River at Kajikazawa. Man and nature appear fused into one: The picture is full of movement, his tensed body mimics the motion of the waves below, and this curved shape is reflected in the rock on which he stands. The triangular shape made by the fishing lines also echoes that of Mount Fuji , or Fugaku, located on the island of Honshū, is the highest mountain in Japan, with a summit elevation of . It is the second-highest volcano located on an island in Asia (after Mount Kerinci on the island of Sumatra), and seventh-highest p ... which is seen rising above. The first impression employ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kajikazawa In Kai Province (Koshu Kajikazawa)
is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was produced as one of the '' Thirty-six Views of Mount Fuji'' series which was published from in the late Edo period. The image is considered one of the masterpieces of the series, particularly in its early blue impression (''aizuri-e''). Standing precariously upon a rocky outcrop, a man casts his net onto the violent Fuji River at Kajikazawa was a town located in Minamikoma District, Yamanashi Prefecture, Japan. As of 2003, the town had an estimated population of 4,402 and a density Density (volumetric mass density or specific mass) is the substance's mass per unit of volume. T .... Man and nature appear fused into one: The picture is full of movement, his tensed body mimics the motion of the waves below, and this curved shape is reflected in the rock on which he stands. The triangular shape made by the fishing lines also echoes that of Mount Fuji which is seen rising above. The first impression empl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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