Changes

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 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.

Over the course of the first half of the 18th century, ''ukiyo-e'' artists, primarily those of the Torii school, experimented with methods of adding fuller color to their prints. ''Benizuri-e'', or "rose prints", of this period, sometimes featured as many as five different colors - rose, yellow, sienna brown, gray, mustard yellow, and black - but are still marked by a distinctly different appearance and creative technique than the full-color prints which would emerge in 1765.

Over the course of the first half of the 18th century, ''ukiyo-e'' artists, primarily those of the Torii school, experimented with methods of adding fuller color to their prints. ''Benizuri-e'', or "rose prints", of this period, sometimes featured as many as five different colors - rose, yellow, sienna brown, gray, mustard yellow, and black - but are still marked by a distinctly different appearance and creative technique than the full-color prints which would emerge in 1765.