#Ukiyo-e painter

[raiko-huyiro]

Buncho

Clearing Weather at Amado Bridge, 1768-75

Woodblock Print

10 x 7.25 in

[guang-we]

Ukiyo-e

Self Exorcism

chinese ink

marker ink and aquarelles on paper

58×63 cm.

2016

[cutehomeart]

Hello, dear reader, let's take a journey back in time to the Edo period in Japan. It was a time of peace and prosperity, an era where arts and culture flourished. And among the many artists who graced this era, one man stood out – Katsushika Hokusai. His masterpiece, "Kajikazawa in Kai Province," is one we will explore today in depth. It's a story of beauty, resilience, and tranquility that defined Hokusai's style and his era.

[itsmarjudgelove]

"Late Summer at Takanawa, Right"

Elegant Pleasures: The Scent of Flowers1718

Utamaro v. 1753 - October 31, 1806 is a Japanese painter, specialist in ukiyo-e.

[niteromantic]

Ichiro Tsuruta in black and white

Ichiro Tsuruta is definitely one of my favourite contemporary painters. The way he represents his own vision of the concept of "bijin-ga" (female beauty), mixing different styles as Art-Deco, Ukiyo-e or Noh (among others)...makes his work unique and special, like no other.

[camisoledadparis]

A student named Wakabayashi Ayame who graduated in 2019 created apple masterpieces based on the different styles of famous painters, such as Picasso and Claude Monet.

The apples were displayed at the Kuwasawa graduation exihibition in Japan. Wakabayashi Ayame's artwork is truly impressive! Her creative interpretation of famous painters' styles using apples as the medium is remarkable. Here are some interesting aspects of his work:

*Technique and Inspiration*: Ayame's use of apples to recreate iconic art styles showcases his technical skill and attention to detail. He drew inspiration from renowned artists like:

1. Salvador Dalí (Surrealism)

2. Hokusai (Ukiyo-e)

3. Paul Cézanne (Post-Impressionism)

4. Picasso (Cubism)

5. Edvard Munch (Expressionism)

6. Piet Mondrian (De Stijl)

7. Vincent van Gogh (Post-Impressionism)

8. Claude Monet (Impressionism)

9. Rembrandt (Baroque)

*Symbolism and Message*: By using apples, Ayame may have intended to convey themes such as:

1. The beauty of everyday objects

2. The intersection of art and nature

3. The fleeting nature of life (apples being perishable)

[mybeingthere]

Ohno Bakufu (大野麦風, 1888–1976) was a Japanese painter and printmaker in the shin-hanga style.

He was born in Tokyo, Japan. Over his lifetime he created over seventy designs. Unlike most members of the Shin Hanga movement, utilized skilled carvers and woodblock print makers to create his prints.

His best known collection of work is the Great Japanese Fish Picture Collection. Remarkably, Ohno spent seven years, between 1937 and 1945, diving in a primitive submarine to a depth of 30 feet off the coast of Wakaura, to sketch fish in their natural habitat. Assisted by an oceanographer, their submarine was equipped with a special light beam that attracted numerous species of fish. The result was a superb issue of 68 woodblock fish prints that are now a great rarity, and highly prized by ichthyologists and print collectors alike.

Ohno Bakufu also created landscapes and still lives. After 1923 Great Kantō earthquake, he moved to Kansai. He was an honorary member of the Hyogo Prefecture Academy of Fine Arts, and a member of Taiheiyogakai.

[weantuniverse]

Utagawa Kuniyoshi’s “Toad, Snail and Snake”, woodblock print.Utagawa Kuniyoshi (Japanese: 歌川 国芳)(1 January 1798–14 April 1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He was a member of the Utagawa school.#art #printmaker #painter #paintings #artist #japaneseart (via Facebook)

[mistressmysticsworld]

Miss Hokusai: The world is beautiful because of "light" and "shadow."

It is believed that many people have seen the famous image of a giant wave engulfing small boats at sea (The Great Wave Of Kanagawa), drawn with traditional Japanese brushstroke techniques. This is the masterpiece of Katsushika Hokusai, a renowned Edo-period artist known across Japan and the world. His works have inspired many European artists, contributing to the development of a Western art movement influenced by Eastern art, known as Japonism.

However, few people know the name and life of the person behind his success — Katsushika Oei, Hokusai's daughter, who possessed artistic talent in brush painting on par with her father. This is her story, brought to life in the 2016 animated film adapted from the Japanese manga by Hinako Sugiura, titled Miss Hokusai. In Japanese, it is known as Sarusuberi (百日紅), which translates to Crape Myrtle, symbolizing the aesthetics and beauty found in woodblock prints (Ukiyo-e) and Japanese brush art, often filled with images of legends, folklore, landscapes, spirits, or imaginary worlds that float beyond reality.

The world is beautiful with "light" and "shadow": A nameless female artist who lived in her father's shadow and became the light for her blind sister.

In the Edo period, the beautiful and unique works of Hokusai shone brightly throughout Japan, like a radiant light. But who knew that behind his glorious fame, there was a young girl who followed in her father’s footsteps, whose skills were second to none.

According to accounts from people who knew the father-daughter artists, it is said that in the early days, Oei rarely signed her name on her work. Sometimes, she used a pseudonym. Many times, she painted on behalf of her father as a nameless artist and sold the work with Hokusai’s name on it. This was because, during the Edo period, female artists' works were often not accepted, as women were expected not to be painters but to take on roles like housewives, merchants, courtesans, or other professions.

Moreover, it was believed that women lacked the skills to observe the world around them and the sexual experience necessary to convey in good art. In addition, most buyers and art consumers were male, so art was produced primarily to serve and cater to male desires. Examples include paintings of courtesans (Oiran), Geisha artists, or erotic depictions of relationships between women and men, women and women, or men and men, meant to serve as illustrated books for sexual arousal.

Thus, society at that time believed that a woman's perspective in creating art for men would either not sell or fail to fully meet men's emotional and sexual desires. These were the challenges that female artists like Oei in the Edo period had to face. Oei encountered many obstacles and had to hone her skills to fight against criticism and judgment in order to gain recognition within a patriarchal world.

However, since Oei understood this societal rule well, she accepted her role as merely a "shadow" under her father's bright "light." She found happiness in observing the world around her to further develop her skills. Her life was considered quite unusual for a woman in the Edo period. Unlike most women of her time, she had no desire to follow the traditional path of being presented for marriage, settling down with a man, and starting a family. Instead, she lived to serve her and her father's passion for art, as well as to study the natural world around her. This made her a courageous, independent, and self-assured woman, different from other women of her era.

On the other hand, Oei became a "light" for the darkened world of her unfortunate blind sister, "Onao." In the story, we see that whenever Oei takes Onao for a walk, she makes an effort to describe to Onao the shapes, colors, objects, people, or places that Onao cannot see with her own eyes.

Oei also expresses her true femininity without having to hide it. She speaks and treats her sister with gentleness and a bright smile, and the two are always filled with laughter from playing together.

This contrasts with her serious and stern expression, her rough and curt tone, or sometimes her silence, speaking only when necessary to project an image of credibility as the one negotiating on behalf of Hokusai with clients. She also had to behave in a commanding manner as the daughter of an important artist.

We can also interpret her behavior toward her father and all of Hokusai's male apprentices as Oei crossing the gender boundary. Her entering into the male-dominated world required her to act equally strong and bold enough for them to accept her as a capable colleague and artist.

It can be said that Oei needed to play different roles depending on the situation, location, and people she encountered. This also tells us that Japanese society, from that era to the present, has expected individuals to behave according to the roles society dictates.

Although Oei could only be a "shadow" in the male-dominated sphere, she was a crucial supporter who helped her father's fame spread far and wide, becoming an indispensable assistant to Hokusai. Moreover, she remained a "beautiful light" for her sister, fulfilling her role in the female sphere according to her gender.

The other side of the red-light district, as seen through the eyes and brushstrokes of Oei

According to accounts from people who knew Oei, she was not only very observant of her surroundings but also deeply fascinated by "light." Every time there was a fire, Oei would be the first to jump out of bed and run excitedly to see it. Her reason for rushing to witness the flames was different from others—she was captivated by the vibrant, intense colors of the fire, which no paint or pigments of that era could replicate.

Oei tried her best to memorize the colors and movements of the flames so she could capture them in her artwork. Her love for vivid tones, combined with the influence of Western art that was beginning to spread in Japan, led Oei to experiment with a new style. She began creating works that used bright colors to represent "light" and darker shades to symbolize "shadow," which was a departure from traditional Japanese paintings that often emphasized softer tones, simplicity, and linework. These innovations helped to distinguish Oei's paintings.

Moreover, her artwork illuminated a different side of the pleasure quarters—the daily lives of courtesans in the red-light district. Oei’s depictions differed from those of her male contemporaries. While male artists of the time often portrayed courtesans as seductive and erotically appealing, Oei’s work reflected their humanity and ordinary aspects. Though by night these women were viewed as objects of sexual desire, praised for their beauty, and skilled in music, art, dance, and theater to entertain male patrons, they were still considered unworthy of becoming wives or taking a place in society, remaining hidden in the world of nightfall.

But who would know that behind the elaborate makeup, the beautifully adorned courtesans living in the red-light district were simply ordinary women, full of beauty, sweetness, emotions, love, hope, dreams, and desires just like anyone else? Oei captured this reality in her paintings with great depth, and her works became well-known, including pieces such as A Beauty Writing Poetry By the Cherry Blossoms at Night, Night Scene in the Yoshiwara, and Three Women Playing Musical Instruments.

Miss Hokusai is an animated film that not only highlights the talents and importance of women who were no less capable than men but also reflects the challenges women faced under the patriarchal system. These include being objectified, having their work judged by male standards, and having to modify their behavior and identity to fit norms established by men.

At the same time, Miss Hokusai presents a clear perspective on women that many might not expect, helping to convey the importance of women's rights in a society striving for gender equality. The first step toward change should begin with understanding and listening to different perspectives.

[raiko-huyiro]

Rain in Kiyomizu Temple

by Asano Takeji - 浅野竹二

1951

[guang-we]

Swamp 02

chinese ink and aquarelles on paper

30×42 (double pages)

2016

Ukiyo-e

[masterpeaces-of-japanese-culture]

Segawa Kikunojo Ⅲ as Oshizu, a wife of Tanabe Bunzo, by Toshusai Sharaku, 1794-1795

[cutehomeart]

'Rainsorm Beneath the Summit' is a distinctive and refreshing deviation from Hokusai's wave-themed artworks. It's one of the 36 views of Mount Fuji series, which sees Japan's sacred mountain from diverse vantage points and seasons.

In 'Rainstorm Beneath the Summit,' Hokusai splendidly captures an image of Mount Fuji during a heavy downpour. The mountain’s majestic summit is depicted using Prussian blue, a synthetic pigment that Hokusai famously introduced to Japanese prints. This color paints a calm contrast to the dramatic, cascading rain showering the landscape. There's a particular subtlety and softness to the painting. It's a reminder of Hokusai's ability to artistically interpret the raw power and serenity of nature.

[itsmarjudgelove]

Utagawa Kuniyoshi was an ukiyo-e painter from the late Edo period in Japan. Katsushika Hokusai and Utagawa Hiroshige were painters of the same generation. His nickname is "The Strange Picture Painter of the Late Tokugawa Shogunate".

[deasbanker]

Weekend treat: go see kabuki for the first time in Ginza and go check the murals of Ukiyo-e artists by Tamako Kataoka underground!

9/6/2024

It was my very first experience in kabuki although I'm Japanese. Since there are plenty of opportunities to gain experience of a variety of cultures even without going abroad all the way nowadays, I have been eager to make out of what I have right now, such as seeing famous Japanese art which tourists from other countries aspire to see in person or visiting historic places in Japan. Therefore, watching kabuki was being on my bucket list for so long. Then, I heard some useful information for that as a novice; Kabuki Theatre sells discount tickets for the upper gallery/single act（within 25 minutes）seats. This is so affordable even for me to dare to without sufficient knowledge.

So, I watched the act starting at 1:30pm, Yoshitsune and the Thousand Cherry Trees, which seemed relatively easy to comprehend as its story is partially based on The Gikeiki, a well-known Japanese war-tale focusing on the legends of Minamoto no Yoshitsune and his followers. Nevertheless, I prepared for this play by looking over some websites dedicated to its plot and characters.

Firstly, I was a bit shocked at the fact that spectators in the upper gallery cannot access to most of the inside from the entrance to the luxurious lobby nor use an elevator. I was actually looking forward to looking around the inside of the new building to my heart's content, though; it's completely separate and exclusive（but one day I'll come back to see a whole play）. Anyways, as for kabuki, we barely saw the main stage as well as the extra stage called "hanamichi", and I enjoyed its every single detail comparing to elements of Noh, which I studied in college, and simply felt the beat. Regrettably, due to a single act seat, I couldn't see the highlights and the end, yet I was satisfied with my first time in Kabuki Theatre at least.

After that, I stopped by a Tokyo metro station closed to the theatre, Tsukijishijo station, in order to see the murals by one of my favorite Japanese painters Tamako Kataoka（1905-2008） in person. She had great respect for Ukiyo-e or Japanese traditional performing arts, contributing the artwork below to the place where such Edo culture had been being developed. No one was even taking a glance at it there, whereas I alone took pictures of it in earnest（ridiculously）; even if no one cares, I do care.

"Tsuragamae: Katsukawa Shunsho"（1987）, "Tsuragamae: Toyokuni Utagawa"（1976）

[teatitty]

Since I said once that Nemuri's art degree needs to be talked about more here's some japanese artists I think she'd be really into: Chiho Aoshima, who does stunning pieces on yokai and nature vs technology and utopia vs dystopia; Sesshu Toyo, a Buddhist Monk and renowned painter of the Muromachi Period, known for his unique ink brush painting style; Hasui Kawase, who just has some absolutely stunning woodblock ukiyo-e prints from the early 1900's; Yokoyama Taikan, for being one of the original creators of the style now known as nihonga; Hasegawa Tohaku, a pre-Edo era painter who was so influential his works are regarded as national treasures and you should definitely look up him up and finally Nahoko Kojima, a kirie [paper cutting] artist whose created a multitude of paper sculptures by hand, her most famous being a 32 metre long whale