Changes

*''Japanese'': 浮世絵 ''(ukiyoe)''

*''Japanese'': 浮世絵 ''(ukiyoe)''

==Early 18th century==

==Early 18th century==

Kabuki actor [[Torii Kiyomoto]] and his son [[Torii Kiyonobu]] moved to Edo from Osaka in 1687, and produced a great many prints and paintings, primarily as advertisements or promotional souveniers for the kabuki theatre. The [[Torii school]] thus founded would continue, under the descendants and students of its members, to dominate the art production of the kabuki theatres through the end of the Edo period.

Kabuki actor [[Torii Kiyomoto]] and his son [[Torii Kiyonobu]] moved to Edo from Osaka in 1687, and produced a great many prints and paintings, primarily as advertisements or promotional souveniers for the kabuki theatre. The [[Torii school]] thus founded would continue, under the descendants and students of its members, to dominate the art production of the kabuki theatres through the end of the Edo period.

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.

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).

==Full color==

==Full color==

<!--Nishiki-e and Harunobu-->

[[Image:Young Woman Admiring a Snow Rabbit (Harunobu).jpg|right|thumb|200px|A woodblock print by [[Suzuki Harunobu]] depicting a pair of young ladies admiring a snow rabbit.]]

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.

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]] (fl.c. 1765-1792) 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]].

The full-color ''nishiki-e'' techniques of Harunobu, combined with Katsukawa Shunshô's shift to more realistic depictions, overturning the dominant forms of the Torii school, opened the doors for further experimentation and individual expression at the end of the 18th century.

The full-color ''nishiki-e'' techniques of Harunobu, combined with Katsukawa Shunshô's shift to more realistic depictions, overturning the dominant forms of the Torii school, opened the doors for further experimentation and individual expression at the end of the 18th century.

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 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.

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.

Kitagawa Utamaro (1750-1806) was the next major master, dominating the ''ukiyo-e'' scene in the 1790s much as Kiyonaga had a decade earlier. He is known primarily for his ''bijinga'' portraits, which represent as dramatic and important a shift for that sub-genre as Sharaku's work does for actor prints. Utamaro's works show a strong influence from Kiyonaga, but also a dramatic departure from the ''bijinga'' of Harunobu and others; they set a new core standard style for the form. Utamaro's women are more mature-looking than Harunobu's slight figures, more fully-figured and more fully sensual than delicate and graceful. Many of Utamaro's works, including a great number of ''shunga'' pieces, seek to represent the life and activity of the courtesans and their district, serving not only as pictures of beautiful women, but as providing a glimpse into their otherwise secret world. Utamaro, along with Kiyonaga and others, was also among the first to make extensive use of the [[polyptych]], images which span multiple individual sheets; while previous artists occasionally produced works in pairs or groups of three, a number of Utamaro's works span six or eight sheets, arranged in two rows. These were sold separately as collectors' items at the time and remain so today.

Kitagawa Utamaro (1750-1806) was the next major master, dominating the ''ukiyo-e'' scene in the 1790s much as Kiyonaga had a decade earlier. He is known primarily for his ''bijinga'' portraits, which represent as dramatic and important a shift for that sub-genre as Sharaku's work does for actor prints. Utamaro's works show a strong influence from Kiyonaga, but also a dramatic departure from the ''bijinga'' of Harunobu and others; they set a new core standard style for the form. Utamaro's women are more mature-looking than Harunobu's slight figures, more fully-figured and more fully sensual than delicate and graceful. Many of Utamaro's works, including a great number of ''shunga'' pieces, seek to represent the life and activity of the courtesans and their district, serving not only as pictures of beautiful women, but as providing a glimpse into their otherwise secret world. Utamaro, along with Kiyonaga and others, was also among the first to make extensive use of the [[polyptych]], images which span multiple individual sheets; while previous artists occasionally produced works in pairs or groups of three, a number of Utamaro's works span six or eight sheets, arranged in two rows. These were sold separately as collectors' items at the time and remain so today.

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. 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.

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), 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.

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.

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.

The [[Bakumatsu period]] (c. 1850-1867) and [[Meiji Restoration]] of 1868 brought the demise of the Edo period urban culture of which ''ukiyo-e'' was a part.

The [[Bakumatsu period]] (c. 1850-1867) and [[Meiji Restoration]] of 1868 brought the demise of the Edo period urban culture of which ''ukiyo-e'' was a part.

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 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.