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In the West, the onna-musha gained popularity when the historical documentary Samurai Warrior Queens aired on the Smithsonian Channel. [41] [42] Several other channels reprised the documentary. The 56th NHK taiga drama, Naotora: The Lady Warlord, was the first NHK drama where the female protagonist is the head of a samurai clan. [43]
Tomoe Gozen (巴 御前, Japanese pronunciation: [5]) was an onna-musha, a female samurai, mentioned in The Tale of the Heike. [6] There is doubt as to whether she existed as she doesn't appear in any primary accounts of the Genpei war. She only appears in the epic "The tale of the Heike".
At the same time that her teaching was becoming well-known, she began to be famous for her unusual dress: she would leave the house wearing a black silk crepe haori (a man's garment at the time) emblazoned with the Sasaki family crest, her hair done up in an indoor style with hairpins, and wearing the samurai's long and short swords.
During the Tokugawa period (1603–1868), the naginata was transformed into a status symbol to distinguish women of samurai families, as well as being the primary means for a woman to defend her home while her husband was away in times of war. This period also saw the propagation of the naginata as a feminine art and the weapon serving as more ...
Musha-e (武者絵) is a type a Japanese art that was developed in the late 18th century. It is a genre of the ukiyo-e woodblock printing technique, and represents images of warriors and samurai from Japanese history and mythology. [1] [2]
“Blue Eye Samurai” is set to collect a trio of juried awards for achievement in animation–for character design, production design and storyboard–while vying for two competitive awards ...
The prints are unsigned, but they are attributed to Kitagawa Utamaro (c. 1753 – 1806). [6] The preface is signed with the pen name Honjo no Shitsubuka ("Profligate of Soggy Honjo"); amongst those suspected to have written it are the writer and poet Tōrai Sanna (1744–1810) and the poet Akera Kankō [] (1740–1800). [6]
Edo (now Tōkyō) in the 18th century.During a parade of samurai and their families and concubines, Seinosuke Koide, a samurai and artist affiliated to a Kanō school master, visits a print shop where he sees a woodcut print by Utamaro that boasts the superiority of his ukiyo-e style over the prevailing Chinese style.