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The terminology included may relate to prehistoric art of the Jomon and Yayoi periods, Japanese Buddhist art, nihonga techniques using sumi and other pigments and dyes, various artisan crafts such as lacquerware techniques, katana and swordmaking, temple, shrine, and castle architecture, carpentry terms, words relating to kimono making industry ...
Kōjien defines bijin-ga as a picture that simply "emphasizes the beauty of women", [1] and the Shincho Encyclopedia of World Art defines it as depiction of "the beauty of a woman's appearance". [2] On the other hand, Gendai Nihon Bijin-ga Zenshū Meisaku-sen I defines bijin-ga as pictures that explore "the inner beauty of women". [3]
The Japanese terms for vertical (portrait) and horizontal (landscape) formats for images are tate-e (縦絵) and yoko-e (横絵), respectively. Below is a table of common Tokugawa-period print sizes. Sizes varied depending on the period, and those given are approximate they are based on the pre-printing paper sizes, and paper was often trimmed ...
Originally Katsumiyagawa Yūsuke, "Katsukawa Shunshō" is one of many art-names (gō) taken on by the artist during his life. Others include Jūgasei, Ririn, Yūji, Kyokurōsei, and Rokurokuan. [2] Prior to signing his works with one of these gō, he used a stamp in the shape of a gourd surrounding the character mori (森), meaning "forest"。
Utamakura (歌まくら, "poem[s] of the pillow") is the title of a 12-print illustrated book of sexually explicit shunga pictures, published in 1788. The print designs are attributed to the Japanese ukiyo-e artist Kitagawa Utamaro, and the book's publication to Tsutaya Jūzaburō.
In 1876, the Kobu Bijutsu Gakkō (Technical Art School) was established by the Meiji government as Japan's first dedicated Yōga art school. [4] Foreign advisors , such as the Italian artists Antonio Fontanesi , Vicenzo Ragusa and Giovanni Cappelletti were hired by the government to teach Japanese artists, [ 4 ] such as Asai Chū in the latest ...
The aesthetic language and conventions of these media have increasingly come to represent the totality of Japanese art and culture abroad as well; the aesthetic of kawaii, for example, originally was derived from traditional concepts within Japanese art dating back to the 15th century, [75] but was explored within popular manga and anime series ...
Modern Japanese prints: printed from a photographic reproduction of two exhibition catalogues of modern Japanese prints published by the Toledo Museum of Art in 1930–1936. Ohio: Toledo Museum of Art, 1997. Brown, K. and Goodall-Cristante, H. Shin-Hanga: New Prints in Modern Japan. Los Angeles County Museum of Art, 1996. ISBN 0-295-97517-2