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''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.

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.

It was not until around 1665, however, that the term "''ukiyo''", written using the characters 浮世 ("floating world"), would appear. [[Asai Ryoi|Asai Ryôi]]'s ''[[Ukiyo monogatari]]'', published around that time, is generally believed to be the earliest use of the word in that way<ref>de Sabato Swinton, Elizabeth. The Women of the Pleasure Quarter. New York: Hudson Hills Press, 1996. p27.</ref>. Previously, ''ukiyo'' had been a Buddhist term, written as 憂世 ("world of grief/melancholy") and referring to the Buddhist perception of the material realm as a world of suffering. Buddhism advocated suppressing material desires, and other physical desires, to devote oneself to the quest for spiritual enlightenment; the "floating world" attitude, however, was very nearly the opposite, advocating devotion to appreciation of the fleeting beauty of life. Though somewhat hedonistic, Asai's oft-quoted definitions of the floating world advocate not raucous pursuits of sexual, culinary and other physical pleasures, but the appreciation of the beauty of cherry blossoms, autumn leaves, the moon, and other things in the world of everyday life.

The use of the term ''ukiyo'' to refer to the worlds of entertainment has been discovered on works dating as early as the 1630s. Nevertheless, [[Asai Ryoi|Asai Ryôi]]'s ''[[Ukiyo monogatari]]'', published around 1665 or so, is widely cited as marking the popularization and widespread establishment of the term, specifically as written using the characters 浮世 ("floating world"), and cited for it explanations or illustrations of the concept of the "floating world."<ref>Elizabeth de Sabato Swinton, ''The Women of the Pleasure Quarter''. New York: Hudson Hills Press, 1996. p27.; Melina Takeuchi, ''Seduction: Japan's Floating World'', San Francisco: Asian Art Museum (2015), 2-3.</ref>. Previously, ''ukiyo'' had been a Buddhist term, written as 憂世 ("world of grief/melancholy") and referring to the Buddhist perception of the material realm as a world of suffering. Buddhism advocated suppressing material desires, and other physical desires, to devote oneself to the quest for spiritual enlightenment; the "floating world" attitude, however, was very nearly the opposite, advocating devotion to appreciation of the fleeting beauty of life. Though somewhat hedonistic, Asai's oft-quoted definitions of the floating world advocate not raucous pursuits of sexual, culinary and other physical pleasures, but the appreciation of the beauty of cherry blossoms, autumn leaves, the moon, and other things in the world of everyday life.

==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 for each color to be applied, with each block carved to only imprint that portion of the image. 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: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==