Difference between revisions of "Nigao-e"
(Created page with "*''Japanese'': 似顔絵 ''(nigao-e)'' ''Nigao-e'' were a sub-genre of Edo period ''ukiyo-e'' woodblock printed portraits which showed recognizable facial likenesses ...") |
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''Nigao-e'' were a sub-genre of [[Edo period]] ''[[ukiyo-e]]'' woodblock printed portraits which showed recognizable facial likenesses of the people depicted. They were in this respect a successor to the ''[[nise-e]]'' paintings of the [[Kamakura period]], which also aimed to recreate facial likeness. | ''Nigao-e'' were a sub-genre of [[Edo period]] ''[[ukiyo-e]]'' woodblock printed portraits which showed recognizable facial likenesses of the people depicted. They were in this respect a successor to the ''[[nise-e]]'' paintings of the [[Kamakura period]], which also aimed to recreate facial likeness. | ||
| − | The first datable ''nigao-e'' is said to have been a [[1764]] double portrait of the [[kabuki]] actors [[Ichikawa Raizo I|Ichikawa Raizô I]] and [[Otani Hiroemon]], by ''ukiyo-e'' artist [[Katsukawa Shunsho|Katsukawa Shunshô]]. His ''Yakusha natsu no fuji'', a book of actor portraits published in [[1780]], is cited as an important example of the continuation of this trend. | + | The first datable ''nigao-e'' is said to have been a [[1764]] double portrait of the [[kabuki]] actors [[Ichikawa Raizo I|Ichikawa Raizô I]] and [[Otani Hiroemon]], by ''ukiyo-e'' artist [[Katsukawa Shunsho|Katsukawa Shunshô]]. His ''Yakusha natsu no fuji'', a book of actor portraits published in [[1780]], is cited as an important example of the continuation of this trend. [[Torii Kiyoshige]] (fl. c. 1751-1772) is also credited with painting some of the earliest ''nigao-e'', while [[Kamigata]] artist [[Ryukosai|Ryûkôsai Jokei]] was one of the first to depict ''[[onnagata]]'' not as women, but as men (with recognizably masculine facial features) dressed as women.<ref>Joshua Mostow, "Wakashu as a Third Gender and Gender Ambiguity through the Edo Period," in Mostow and Asato Ikeda (eds.), ''A Third Gender'', Royal Ontario Museum (2016), 34.</ref> |
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==References== | ==References== | ||
*Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 195. | *Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 195. | ||
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[[Category:Edo Period]] | [[Category:Edo Period]] | ||
[[Category:Terminology]] | [[Category:Terminology]] | ||
[[Category:Art and Architecture]] | [[Category:Art and Architecture]] | ||
Latest revision as of 13:38, 8 July 2016
- Japanese: 似顔絵 (nigao-e)
Nigao-e were a sub-genre of Edo period ukiyo-e woodblock printed portraits which showed recognizable facial likenesses of the people depicted. They were in this respect a successor to the nise-e paintings of the Kamakura period, which also aimed to recreate facial likeness.
The first datable nigao-e is said to have been a 1764 double portrait of the kabuki actors Ichikawa Raizô I and Otani Hiroemon, by ukiyo-e artist Katsukawa Shunshô. His Yakusha natsu no fuji, a book of actor portraits published in 1780, is cited as an important example of the continuation of this trend. Torii Kiyoshige (fl. c. 1751-1772) is also credited with painting some of the earliest nigao-e, while Kamigata artist Ryûkôsai Jokei was one of the first to depict onnagata not as women, but as men (with recognizably masculine facial features) dressed as women.[1]
References
- Timon Screech, Obtaining Images, University of Hawaii Press (2012), 195.
- ↑ Joshua Mostow, "Wakashu as a Third Gender and Gender Ambiguity through the Edo Period," in Mostow and Asato Ikeda (eds.), A Third Gender, Royal Ontario Museum (2016), 34.
