Changes

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) or "Azuma nishiki-e" (eastern brocade pictures) in the Kamigata ([[Kansai]]) 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.  

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.