Changes

*''Japanese'': 浮世絵 ''(ukiyoe)''

*''Japanese'': 浮世絵 ''(ukiyoe)''

==Origins==

==Origins==

''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.

Early Torii prints featured many of the same stylistic elements as the works of Moronobu and the others who came before, but made much greater use of the limited numbers of colors available. Though many of these prints used only two or three colors, these would be used quite liberally, and not only as highlights over a primarily monochrome work.

Early Torii prints featured many of the same stylistic elements as the works of Moronobu and the others who came before, but made much greater use of the limited numbers of colors available. Though many of these prints used only two or three colors, these would be used quite liberally, and not only as highlights over a primarily monochrome work.

[[Image:Kaigetsudo Ando Yasunori - Bijin.jpg|right|thumb|200px|A ''bijinga'' hanging scroll painting by [[Kaigetsudo Ando|Kaigetsudô Andô]].]]

[[Image:Kaigetsudo Ando Yasunori - Bijin.jpg|right|thumb|180px|A ''bijinga'' hanging scroll painting by [[Kaigetsudo Ando|Kaigetsudô Andô]].]]

Another school which emerged around this time and which is worth noting is the [[Kaigetsudo school|Kaigetsudô school]], founded by [[Kaigetsudo Ando|Kaigetsudô Ando]] (c. 1671-1743) in the first decade or so of the 18th century. An exception to the general trend of the genre, the Kaigetsudô artists worked primarily in paintings, not prints, and some never produced prints at all. Their works are typified by [[hanging scroll]]s of tall, standing courtesans or beauties in lavishly decorated and brightly colored [[kimono]]. Though artists had been painting courtesans and beautiful women since the very beginnings of early proto-''ukiyo-e'', the works of Ando and his disciples can perhaps be said to represent the true emergence of the sub-genre known as ''[[bijinga]]'' (pictures of beautiful women).

Another school which emerged around this time and which is worth noting is the [[Kaigetsudo school|Kaigetsudô school]], founded by [[Kaigetsudo Ando|Kaigetsudô Ando]] (c. 1671-1743) in the first decade or so of the 18th century. An exception to the general trend of the genre, the Kaigetsudô artists worked primarily in paintings, not prints, and some never produced prints at all. Their works are typified by [[hanging scroll]]s of tall, standing courtesans or beauties in lavishly decorated and brightly colored [[kimono]]. Though artists had been painting courtesans and beautiful women since the very beginnings of early proto-''ukiyo-e'', the works of Ando and his disciples can perhaps be said to represent the true emergence of the sub-genre known as ''[[bijinga]]'' (pictures of beautiful women).

Kaigetsudô prints generally represented the same subjects, though considerably less colorfully, constrained as they were by the techniques and technology of the time. These works were nevertheless lavish in that they used the technique of ''[[urushi-e]]'' ([[lacquer]] pictures) pioneered by [[Okumura Masanobu]] (1686-1764). This style was distinguished by the use of thicker, bolder lines than had typically been used, the application of flecks of brass, bronze, or mica, and the addition of a glue to the inks to help simulate the shine of lacquer.

Kaigetsudô prints generally represented the same subjects, though considerably less colorfully, constrained as they were by the techniques and technology of the time. These works were nevertheless lavish in that they used the technique of ''[[urushi-e]]'' ([[lacquer]] pictures) pioneered by [[Okumura Masanobu]] (1686-1764). This style was distinguished by the use of thicker, bolder lines than had typically been used, the application of flecks of brass, bronze, or mica, and the addition of a glue to the inks to help simulate the shine of lacquer.

[[Miyagawa Choshun|Miyagawa Chôshun]] (1683-1753) was among those who drew significant influence from the Kaigetsudô style. Indeed many of his works are ''bijinga'' with lavishly ornate and colorful kimono, and a sense of the statuesque. Like several of the Kaigetsudô artists, and unlike the majority of ''ukiyo-e'' artists, Chôshun only ever painted, and never produced designs for woodblock prints.

[[Miyagawa Choshun|Miyagawa Chôshun]] (1683-1753) was among those who drew significant influence from the Kaigetsudô style. Indeed many of his works are ''bijinga'' with lavishly ornate and colorful kimono, and a sense of the statuesque. Like several of the Kaigetsudô artists, and unlike the majority of ''ukiyo-e'' artists, Chôshun only ever painted, and never produced designs for woodblock prints.