Changes

*''Japanese'': 浮世絵 ''(ukiyoe)''

*''Japanese'': 浮世絵 ''(ukiyoe)''

 

''Ukiyo-e'' is a genre of Japanese [[painting]] and [[woodblock printing|woodblock prints]], comprising a number of closely related styles, which formed one of the core genres of [[Edo period]] popular art. The term literally means "pictures of the [[floating world]]," and ''ukiyo-e'' images generally depict elements of urban commoner culture, especially [[kabuki]] actors, courtesans and other beautiful women, sumo wrestlers, and [[meisho|famous places]] around [[Edo]] and elsewhere.

''Ukiyo-e'' is a genre of Japanese [[painting]] and [[woodblock printing|woodblock prints]], comprising a number of closely related styles, which formed one of the core genres of [[Edo period]] popular art. The term literally means "pictures of the [[floating world]]," and ''ukiyo-e'' images generally depict elements of urban commoner culture, especially [[kabuki]] actors, courtesans and other beautiful women, sumo wrestlers, and [[meisho|famous places]] around [[Edo]] and elsewhere.

One of the key concepts at the heart of the ''ukiyo-e'' aesthetic is the ephemeral nature both of the art itself and of its subjects. The notion of the "floating world" speaks primarily of ephemeral, short-lived experiences in the entertainment districts of the city, a beauty and enjoyment which is fleeting. While ''ukiyo-e'' paintings remained expensive objects which were meant to be kept and cherished, the nature of the medium of the woodblock print, along with mass production, allowed ''ukiyo-e'' prints to be produced and sold quite cheaply. While only the more wealthy merchants, and other elites, could generally afford to commission paintings, prints were available to the general masses. They were collectibles, but also ephemeral souveniers of one's experiences in the theatre or other entertainment districts of the city.

One of the key concepts at the heart of the ''ukiyo-e'' aesthetic is the ephemeral nature both of the art itself and of its subjects. The notion of the "floating world" speaks primarily of ephemeral, short-lived experiences in the entertainment districts of the city, a beauty and enjoyment which is fleeting. While ''ukiyo-e'' paintings remained expensive objects which were meant to be kept and cherished, the nature of the medium of the woodblock print, along with mass production, allowed ''ukiyo-e'' prints to be produced and sold quite cheaply. While only the more wealthy merchants, and other elites, could generally afford to commission paintings, prints were available to the general masses. They were collectibles, but also ephemeral souveniers of one's experiences in the theatre or other entertainment districts of the city. Some people are known to have pasted prints up on the walls, to enhance the decor, while others kept their prints in a box, or mounted in albums.<ref>Christine Guth, ''Art of Edo Japan'', Yale University Press (1996), 99.</ref>

The genre originated in the late 17th century, reached its climax around 100 years later, and continued into the [[Meiji period]], declining and coming to an end shortly after the turn of the 20th century.

The genre originated in the late 17th century, reached its climax around 100 years later, and continued into the [[Meiji period]], declining and coming to an end shortly after the turn of the 20th century.

==Origins==

==Origins==

[[Image:見返り美人sm.jpg|right|180px|thumb|Mikaeri Bijin by Hishikawa Moronobu]]

[[Image:見返り美人sm.jpg|right|180px|thumb|''Mikaeri [[Bijinga|Bijin]]'' by [[Hishikawa Moronobu]]]]

''Ukiyo-e'' has its origins in illustrated woodblock printed books, and in so-called "[[genre painting]]s" of urban life. These forms evolved over the course of the 17th century in parallel with other elements of urban culture such as [[kabuki]], the courtesan districts, and various forms of humorous literature. Many of these paintings were by members of the [[Tosa school]] and [[Kano school|Kanô school]] who had turned away from the formalized forms of their official schools to experiment in new forms. [[Iwasa Matabei]] (1578-1650) was one of the foremost producers of "genre paintings" at this time, many of his works depicting samurai with courtesans, kabuki dances, and the like.

''Ukiyo-e'' has its origins in illustrated woodblock printed books, and in so-called "[[genre painting]]s" of urban life. These forms evolved over the course of the 17th century in parallel with other elements of urban culture such as [[kabuki]], the courtesan districts, and various forms of humorous literature. Many of these paintings were by members of the [[Tosa school]] and [[Kano school|Kanô school]] who had turned away from the formalized forms of their official schools to experiment in new forms. [[Iwasa Matabei]] (1578-1650) was one of the foremost producers of "genre paintings" at this time, many of his works depicting samurai with courtesans, kabuki dances, and the like.

Perhaps the true birth of ''ukiyo-e'' can be said to have occurred when works began being produced in considerable numbers in [[Edo]]. Though ''ukiyo-e'' consists of both paintings and prints, the reproducibility and low cost of woodblock prints are important elements of the genre, based as it was in being a popular art for the commoner masses; thus, the emergence of mass production of woodblock printed books and single-sheet images in this style is generally considered to mark the genre's true beginnings.

Perhaps the true birth of ''ukiyo-e'' can be said to have occurred when works began being produced in considerable numbers in [[Edo]]. Though ''ukiyo-e'' consists of both paintings and prints, the reproducibility and low cost of woodblock prints are important elements of the genre, based as it was in being a popular art for the commoner masses; thus, the emergence of mass production of woodblock printed books and single-sheet images in this style is generally considered to mark the genre's true beginnings.

''Ukiyo-e'' would continue to develop in the [[Kamigata]] area (i.e. [[Osaka]] and [[Kyoto]]), and would produce its own distinct styles and great masters, but the true core trend of development and prosperity arguably took place in Edo. Throughout the period, Kamigata remained the center for painting and Edo the center for flourishing production of woodblock prints, though both regions of course saw the production of innumerable works in both media. Even today, ''ukiyo-e'' at its full height of development is referred to as "Edo-e" (Edo pictures) in the Kamigata region.

''Ukiyo-e'' would continue to develop in the [[Kamigata]] area (i.e. [[Osaka]] and [[Kyoto]]), and would produce its own distinct styles and great masters, but the true core trend of development and prosperity arguably took place in Edo. Throughout the period, Kamigata remained the center for painting and Edo the center for flourishing production of woodblock prints, though both regions of course saw the production of innumerable works in both media. Even today, ''ukiyo-e'' at its full height of development is referred to as "Edo-e" (Edo pictures) or "Azuma nishiki-e" (eastern brocade pictures)<ref>While Kyoto was famous for its embroidered brocade textiles (''nishiki''), these were tongue-in-cheek being referred to as Edo's equivalent.</ref> in the Kamigata ([[Kansai]]) region.

''Ukiyo-e'' had its start in Edo, appropriately enough, in the publishing district. There, in the [[Kanbun (era)|Kanbun]] era of the [[Japanese calendar]] (1661-1673), one artist emerged as the primary producer of erotic images (''[[shunga]]'') for illustrated books in what would come to be known as the ''ukiyo-e'' style. As his name is not known, he has come to be known in scholarship as "the [[Kanbun Master]]." He was followed roughly a decade later by [[Hishikawa Moronobu]] (d. 1694), who may have been his student, [[Sugimura Jihei]] (fl.c. 1681-1697), and others, who continued to produce these simple images, primarily of courtesans, dancing girls, and related erotic scenes.  

''Ukiyo-e'' had its start in Edo, appropriately enough, in the publishing district. There, in the [[Kanbun (era)|Kanbun]] era of the [[Japanese calendar]] (1661-1673), one artist emerged as the primary producer of erotic images (''[[shunga]]'') for illustrated books in what would come to be known as the ''ukiyo-e'' style. As his name is not known, he has come to be known in scholarship as "the [[Kanbun Master]]." He was followed roughly a decade later by [[Hishikawa Moronobu]] (d. 1694), who may have been his student, [[Sugimura Jihei]] (fl.c. 1681-1697), and others, who continued to produce these simple images, primarily of courtesans, dancing girls, and related erotic scenes.  

In both Edo and Kamigata, images were almost exclusively in monochrome black, sometimes with one or two colors used sparingly, primarily oranges and greens. Sometimes sheets would be hand-colored.

In both Edo and Kamigata, images were almost exclusively in monochrome black, sometimes with one or two colors used sparingly, primarily oranges and greens. Sometimes sheets would be hand-colored.

==Early 18th century==

==Early 18th century==

True full-color printing was the result of an innovation by [[Suzuki Harunobu]] (c. 1725-1770), who developed the technique, which is called ''[[nishiki-e]]'' (brocade pictures), only five years before his premature death in 1770. Like many artists of the time, Harunobu was involved in a number of [[poetry circles]], casual social gatherings of artists, actors, writers, connoisseurs and others  who would compose poetry together, paint for one another, and generally share their love of art. The first ''nishiki-e'' were created as a series of [[e-goyomi|calendar prints]] for Harunobu's circle. Not displaying a full calendar as one might expect to see today, these were single-sheet prints which incorporated into their imagery the information necessary to know the length of the months for that year. Since the Japanese calendar was lunisolar, which months of the year were long and which short changed each year.

True full-color printing was the result of an innovation by [[Suzuki Harunobu]] (c. 1725-1770), who developed the technique, which is called ''[[nishiki-e]]'' (brocade pictures), only five years before his premature death in 1770. Like many artists of the time, Harunobu was involved in a number of [[poetry circles]], casual social gatherings of artists, actors, writers, connoisseurs and others  who would compose poetry together, paint for one another, and generally share their love of art. The first ''nishiki-e'' were created as a series of [[e-goyomi|calendar prints]] for Harunobu's circle. Not displaying a full calendar as one might expect to see today, these were single-sheet prints which incorporated into their imagery the information necessary to know the length of the months for that year. Since the Japanese calendar was lunisolar, which months of the year were long and which short changed each year.

As these were produced for an elite audience and a small distribution solely within Harunobu's circles, they were originally produced using only the finest paper, pigments, and techniques. No expense was spared, and Harunobu set the precedent with his 1765 calendar prints for thicker paper, thicker application of pigments for a more opaque final color result, the shift from catalpa wood to cherry, and perhaps most importantly, the innovative techniques which allowed a full range of colors to be used. A number of blocks would be created for each image, one block carved to only represent that portion of the image which took a single color. With the right equipment, the imprint of each block could be registered perfectly, to line up as many separate blocks, and therefore as many different colors, as desired.

As these were produced for an elite audience and a small distribution solely within Harunobu's circles, they were originally produced using only the finest paper, pigments, and techniques. No expense was spared, and Harunobu set the precedent with his 1765 calendar prints for thicker paper, thicker application of pigments for a more opaque final color result, the shift from catalpa wood to cherry, and perhaps most importantly, the innovative techniques which allowed a full range of colors to be used. A number of blocks would be created for each image, one for each color to be applied, with each block carved to only imprint that portion of the image. Blocks were often carved on both sides, so that, for example, an eight-color print would require only four blocks. With the right equipment, the imprint of each block could be registered perfectly, to line up as many separate blocks, and therefore as many different colors, as desired.

In the five years between the release of these first ''nishiki-e'' and his death, Harunobu produced hundreds of works, his unique style showing a marked departure from those of earlier artists. He remains today one of the most famous of all ''ukiyo-e'' artists not solely for his innovation, but for his charming and elegant style. In addition to the multitude of innovative elements which ''nishiki-e'' techniques allowed, his works are chiefly distinguished by the thin and slight build and young faces of his figures. While most earlier ''bijinga'' focused on the allure and sensuality of experienced courtesans, ostensibly full-grown women, Harunobu's ''bijinga'' really appealed to the delicate beauty of girlhood. The places and situations represented in his prints also displayed a more everyday, more real, world than many of the prints which came before. Two of his most famous prints, one of a young lady walking past a Shinto shrine, one of the girl [[Kasamori Osen]] serving tea at a small outdoor shop, serve as good examples of this real-world aesthetic. He very rarely, if ever, produced actor prints.

In the five years between the release of these first ''nishiki-e'' and his death, Harunobu produced hundreds of works, his unique style showing a marked departure from those of earlier artists. He remains today one of the most famous of all ''ukiyo-e'' artists not solely for his innovation, but for his charming and elegant style. In addition to the multitude of innovative elements which ''nishiki-e'' techniques allowed, his works are chiefly distinguished by the thin and slight build and young faces of his figures. While most earlier ''bijinga'' focused on the allure and sensuality of experienced courtesans, ostensibly full-grown women, Harunobu's ''bijinga'' really appealed to the delicate beauty of girlhood. The places and situations represented in his prints also displayed a more everyday, more real, world than many of the prints which came before. Two of his most famous prints, one of a young lady walking past a Shinto shrine, one of the girl [[Kasamori Osen]] serving tea at a small outdoor shop, serve as good examples of this real-world aesthetic. He very rarely, if ever, produced actor prints.

Harunobu was followed by a number of disciples and others influenced by his work. Suzuki Harushige, who would later become a master of ''[[ranga]]'' (Western-style painting) under the name [[Shiba Kokan|Shiba Kôkan]] (1747-1818), forged Harunobu's style for several years after the master's death. [[Ippitsusai Buncho|Ippitsusai Bunchô]] (fl.c. 1765-1792) and [[Isoda Koryusai|Isoda Kôryûsai]] (fl.c. 1760s-1780s) were among other notable followers of Harunobu at this time.

Harunobu was followed by a number of disciples and others influenced by his work. Suzuki Harushige, who would later become a master of ''[[ranga]]'' (Western-style painting) under the name [[Shiba Kokan|Shiba Kôkan]] ([[1747]]-[[1818]]), forged Harunobu's style for several years after the master's death. [[Ippitsusai Buncho|Ippitsusai Bunchô]] (d. [[1791]]) and [[Isoda Koryusai|Isoda Kôryûsai]] (fl.c. 1760s-1780s) were among other notable followers of Harunobu at this time.

Another major innovator, roughly contemporary with Harunobu, was [[Katsukawa Shunsho|Katsukawa Shunshô]] (1726-1793) the student of [[Miyagawa Shunsui]] (fl.c. 1740s-1760s), son of Miyagawa Chôshun mentioned earlier, and founder of the [[Katsukawa school]].

Another major innovator, roughly contemporary with Harunobu, was [[Katsukawa Shunsho|Katsukawa Shunshô]] (1726-1793) the student of [[Miyagawa Shunsui]] (fl.c. 1740s-1760s), son of Miyagawa Chôshun mentioned earlier, and founder of the [[Katsukawa school]].

Shunshô's student [[Katsukawa Shunko|Shunkô]] (1743-1812) continued his master's tradition and style, and devoted himself more exclusively to actor prints, becoming one of the first to produce large-scale headshot portraits of individual actors. Whereas previous actor prints almost always depicted the full actor, head to toe, and thus represented the role and the costume just as much as the actor, these focused in upon the individual actors' idiosyncrasies and features, becoming true portraits. This form would be continued by many artists after him, including the great masters [[Sharaku]] and [[Kitagwa Utamaro|Utamaro]]. [[Katsukawa Shuncho|Katsukawa Shunchô]], [[Katsukawa Shun'ei|Shun'ei]] and [[Hokusai]] were among other students of the Katsukawa school.

Shunshô's student [[Katsukawa Shunko|Shunkô]] (1743-1812) continued his master's tradition and style, and devoted himself more exclusively to actor prints, becoming one of the first to produce large-scale headshot portraits of individual actors. Whereas previous actor prints almost always depicted the full actor, head to toe, and thus represented the role and the costume just as much as the actor, these focused in upon the individual actors' idiosyncrasies and features, becoming true portraits. This form would be continued by many artists after him, including the great masters [[Sharaku]] and [[Kitagwa Utamaro|Utamaro]]. [[Katsukawa Shuncho|Katsukawa Shunchô]], [[Katsukawa Shun'ei|Shun'ei]] and [[Hokusai]] were among other students of the Katsukawa school.

==Maturation==

==Maturation==

[[Image:SharakuTwoActors.jpg|right|thumb|200px|Two [[kabuki]] actors in the play ''[[Yoshitsune Senbon Zakura]]'', in a print by [[Sharaku]].]]

[[Image:SharakuTwoActors.jpg|right|thumb|200px|Two [[kabuki]] actors in the play ''[[Yoshitsune Senbon Zakura]]'', in a print by [[Sharaku]].]]

Tôshûsai Sharaku (fl.c. 1794-1795), one of the most famous names in the genre, serves as a perfect example of the kind of artist who emerged in this period. Producing prints for an amazing limited time of only ten months, in 1794-1795, he nevertheless made a huge impact, creating highly distinctive works with a degree of realism not seen before. He expanded upon Shunshô's forms by emphasizing the reality of the actor behind the character; he was among the first and only major Edo artists to represent actors in this way, though it had already long been the dominant form in Kamigata.

Tôshûsai Sharaku (fl.c. 1794-1795), one of the most famous names in the genre, serves as a perfect example of the kind of artist who emerged in this period. Producing prints for an amazingly limited time of only ten months, in 1794-1795, he nevertheless made a huge impact, creating highly distinctive works with a degree of realism not seen before. He expanded upon Shunshô's forms by emphasizing the reality of the actor behind the character; he was among the first and only major Edo artists to represent actors in this way, though it had already long been the dominant form in Kamigata.

While Sharaku focused on headshot portraits of individual actors, [[Torii Kiyonaga]] (1752-1815) became head of the Torii school and overhauled its traditional forms, setting the tone for the following century of ''ukiyo-e'' in much the same way that his predecessor Torii Kiyonobu did for the 18th century. In a way, his work really represents the culmination of the innovations and stylistic shifts of those who came before him, injecting these into the otherwise staid and static Torii style. His works represent the realism of the Katsukawa school, the delicate grace and brilliant color of Harunobu's work, along with full background scenery. Perhaps the key word to describe his style, and that of much of the 19th century, is "naturalism." Kiyonaga shed the exaggerated and over-dramatic forms of the earlier Torii style, creating scenes in which figures looked and behaved naturalistically, while remaining graceful and beautiful.

While Sharaku focused on headshot portraits of individual actors, [[Torii Kiyonaga]] (1752-1815) became head of the Torii school and overhauled its traditional forms, setting the tone for the following century of ''ukiyo-e'' in much the same way that his predecessor Torii Kiyonobu did for the 18th century. In a way, his work really represents the culmination of the innovations and stylistic shifts of those who came before him, injecting these into the otherwise staid and static Torii style. His works represent the realism of the Katsukawa school, the delicate grace and brilliant color of Harunobu's work, along with full background scenery. Perhaps the key word to describe his style, and that of much of the 19th century, is "naturalism." Kiyonaga shed the exaggerated and over-dramatic forms of the earlier Torii style, creating scenes in which figures looked and behaved naturalistically, while remaining graceful and beautiful.

Utamaro was followed by the [[Utagawa school]], a series of artists who dominated the early 19th century, producing works in a variety of sub-genres. [[Utagawa Toyoharu]] (1735-1814), the founder of the school, is cited as the first ''ukiyo-e'' artist to truly focus on landscapes and on large group scenes. It was certainly not uncommon for earlier works to include as many as ten or more figures which served as the foreground focus of the work; Toyoharu produced images of tens or hundreds of individuals, incorporated into the landscape, that is, into the scene. Many of these were crowded city scenes, within Edo's kabuki theatres, along its avenues, or on the river.

Utamaro was followed by the [[Utagawa school]], a series of artists who dominated the early 19th century, producing works in a variety of sub-genres. [[Utagawa Toyoharu]] (1735-1814), the founder of the school, is cited as the first ''ukiyo-e'' artist to truly focus on landscapes and on large group scenes. It was certainly not uncommon for earlier works to include as many as ten or more figures which served as the foreground focus of the work; Toyoharu produced images of tens or hundreds of individuals, incorporated into the landscape, that is, into the scene. Many of these were crowded city scenes, within Edo's kabuki theatres, along its avenues, or on the river.

As such, he was also among the first to incorporate perspective, in the Western style, into his images, rather than simply experimenting with it as a novelty as some earlier artists, as far back as Masanobu and Torii Kiyonobu, had. These came to be known as "floating pictures", or ''[[uki-e]]'', as the more realistic depiction of depth made the images supposedly seem to float right off the page.

As such, he was also among the first to incorporate perspective, in the Western style, into his images, rather than simply experimenting with it as a novelty as some earlier artists, as far back as Masanobu and Torii Kiyonobu, had. Those earlier works came to be known as "floating pictures", or ''[[uki-e]]'', as the more realistic depiction of depth made the images supposedly seem to float right off the page.

[[Image:Kuniyoshi - Tominomori.jpg|right|200px|thumb|The ronin [[Tominomori Sukeemon]] from a ''[[The 47 Ronin|Chûshingura]]'' series by [[Utagawa Kuniyoshi]].]]

[[Image:Kuniyoshi - Tominomori.jpg|right|200px|thumb|The ronin [[Tominomori Sukeemon]] from a ''[[The 47 Ronin|Chûshingura]]'' series by [[Utagawa Kuniyoshi]].]]

Many of Toyoharu's followers in the Utagawa school, including [[Utagawa Toyokuni]] (1769-1825), [[Utagawa Toyohiro|Toyohiro]] (1773-1828), [[Utagawa Kunisada|Kunisada]] (1786-1865), [[Utagawa Kuniyoshi|Kuniyoshi]] (1798-1861), and [[Utagawa Kunimasa|Kunimasa]] (1773-1810), are famous and talented artists in their own rights, dominating the genre in the early 19th century. They produced a great many ''bijinga'', actor prints, and other works, their style largely imitative of Kiyonaga's, but showing moments of great originality at times.

Many of Toyoharu's followers in the Utagawa school, including [[Utagawa Toyokuni]] (1769-1825), [[Utagawa Toyohiro|Toyohiro]] (1773-1828), [[Utagawa Kunisada|Kunisada]] (1786-1865), [[Utagawa Kuniyoshi|Kuniyoshi]] (1798-1861), and [[Utagawa Kunimasa|Kunimasa]] (1773-1810), were famous and talented artists in their own rights, dominating the genre in the early 19th century. They produced a great many ''bijinga'', actor prints, and other works, their style largely imitative of Kiyonaga's, but showing moments of great originality at times.

Katsushika Hokusai (1760-1849) and [[Hiroshige|Andô Hiroshige]] (1797-1858), easily the two ''ukiyo-e'' artists most well-known in the West, thus came quite late in the development of the genre, and, as masters of landscapes, do not truly represent the urban culture (courtesans, actors, and genre scenes) core of the genre.

Katsushika Hokusai (1760-1849) and [[Hiroshige|Andô Hiroshige]] (1797-1858), easily the two ''ukiyo-e'' artists most well-known in the West, thus came quite late in the development of the genre, and, as masters of landscapes, do not truly represent the urban culture (courtesans, actors, and genre scenes) core of the genre.

[[Image:Hiroshige - Tokaido53 Seki.jpg|right|thumb|300px|''Seki'', from the series ''Fifty-Three Stations of the Tôkaidô'' by [[Hiroshige]].]]

[[Image:Hiroshige - Tokaido53 Seki.jpg|right|thumb|300px|''Seki'', from the series ''Fifty-Three Stations of the Tôkaidô'' by [[Hiroshige]].]]

Both of these artists, along with their students and others around them, produced a wide variety of works, both paintings and prints, ''bijinga'', actor prints, images of sumo wrestlers, ''[[shunga]]'', and genre scenes, but eventually came to be best known for their landscapes. Their most well-known works, Hokusai's ''Thirty-Six Views of Mount Fuji'' and Hiroshige's ''Fifty-Three Stations of the [[Tokaido|Tôkaidô]]'', are representative of their landscape work in general, which made extensive use of Western perspective, pigments, and stylistic elements. Though some of these works appear to depart dramatically from ''ukiyo-e's'' focus on people and urban scenes, in fact the majority of these pieces are intended to emphasize the people in the prints, within their context; these works also fit quite neatly into a larger trend of Edo period travel literature and artwork, depicting Mt. Fuji, sites along the Tôkaidô road and other famous travel sites. These could serve the collectors either as reminders of the sights they enjoyed on their journeys or, more commonly, as substitutes for those who couldn't or didn't make the journeys at all.

Both of these artists, along with their students and others around them, produced a wide variety of works, both paintings and prints, ''bijinga'', actor prints, images of sumo wrestlers, ''[[shunga]]'', and genre scenes, but eventually came to be best known for their landscapes. Their most well-known works, Hokusai's ''Thirty-Six Views of Mount Fuji'' and Hiroshige's ''Fifty-Three Stations of the [[Tokaido|Tôkaidô]]'', are representative of their landscape work in general, which made extensive use of Western perspective, pigments, and stylistic elements. Though some of these works appear to depart dramatically from ''ukiyo-e's'' focus on people and urban scenes, in fact the majority of these pieces are intended to emphasize the people in the prints, within their context; these works also fit quite neatly into a larger trend of Edo period travel literature and artwork, depicting Mt. Fuji, sites along the Tôkaidô road and other famous travel sites. These could serve the collectors either as reminders of the sights they enjoyed on their journeys or, more commonly, as substitutes for those who couldn't or didn't make the journeys at all.

==Decline==

==Decline==

[[Image:Kiyochika - Asakusa.jpg|right|thumb|300px|The [[Asakusa]] area of Tokyo, in a print by [[Kobayashi Kiyochika]].]]

[[Image:Kiyochika - Asakusa.jpg|right|thumb|300px|The [[Asakusa]] area of Tokyo, in a print by [[Kobayashi Kiyochika]].]]

One ''ukiyo-e'' artist of the Meiji period is worth some attention here. [[Kobayashi Kiyochika]] (1847-1915) is often considered the last of the great ''ukiyo-e'' artists, working in largely traditional modes and styles despite his interesting modern subjects. The works for which is is most known are those which show the transformation of Edo into [[Tokyo]], and depict traditional scenes with modern elements, such as trains, clocktowers, and horse-drawn carriages.

One ''ukiyo-e'' artist of the Meiji period is worth some attention here. [[Kobayashi Kiyochika]] (1847-1915) is often considered the last of the great ''ukiyo-e'' artists, working in largely traditional modes and styles despite his often rather modern subjects. The works for which he is most known are those which show the transformation of Edo into [[Tokyo]], and depict traditional scenes with modern elements, such as trains, clocktowers, and horse-drawn carriages.

Later in the Meiji period, woodblock prints were used to represent the events of the [[Sino-Japanese War]] (1894-1895) and [[Russo-Japanese War]] (1904-1905), alongside photographs and postcards.

Later in the Meiji period, woodblock prints (along with [[photography|photographs]] and [[postcards]], both first emerging around that time) were used to represent the events of the [[Sino-Japanese War]] (1894-1895) and [[Russo-Japanese War]] (1904-1905).

A number of other artists of the Meiji period and early 20th century, including most notably [[Hashiguchi Goyo|Hashiguchi Goyô]], adopted more modern and Western methods and styles into their works, and came to comprise what has been called "[[neo-ukiyo-e]]".

A number of other artists of the Meiji period and early 20th century, including most notably [[Hashiguchi Goyo|Hashiguchi Goyô]], [[Kawase Hasui]], [[Ito Shunsui|Itô Shunsui]], and [[Yoshida Toshi|Yoshida Tôshi]], adopted more modern and Western methods and styles into their works, and came to comprise what has been called "[[shin hanga]]". Meanwhile, painters in the ''[[Nihonga]]'' style or movement incorporated elements of ''ukiyo-e'' style as well.

Though woodblock printing certainly went on for a time after the end of the Edo period, the ''ukiyo'' ("floating world") became, for the most part, a thing of the past. Much like kabuki, which does survive and continue today, and for which actor prints continue to be made, ''ukiyo-e'' was very much a product of its time, and continues to represent quite vividly the culture of that time.

Though woodblock printing certainly went on for a time after the end of the Edo period, the ''ukiyo'' ("floating world") became, for the most part, a thing of the past. ''Ukiyo-e'' was very much a product of its time, and continues to represent quite vividly the culture of that time.

 

==Reference==

==Reference==

*[[Richard Lane|Lane, Richard]]. ''Images from the Floating World''. Old Saybrook, CT: Konecky & Konecky, 1978.

*[[Richard Lane|Lane, Richard]]. ''Images from the Floating World''. Old Saybrook, CT: Konecky & Konecky, 1978.

[[Category:Art and Architecture]]

[[Category:Art and Architecture]]

[[Category:Terminology]]

[[Category:Terminology]]