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The ukiyo-e print was a commercial art form, and the publisher played an important role. [186] Publishing was highly competitive; over a thousand publishers are known from throughout the period. The number peaked at around 250 in the 1840s and 1850s [ 187 ] —200 in Edo alone [ 188 ] —and slowly shrank following the opening of Japan until ...
Ukiyo-e art flourished in Japan during the Edo period from the seventeenth to nineteenth centuries. The art form took as its primary subjects courtesans, kabuki actors, and others associated with the ukiyo "floating world" lifestyle of the pleasure districts. Alongside paintings, mass-produced woodblock prints were a major form of the genre. [1]
Bugaku, made up of the characters for 'dance' (舞-bu) and 'music' or 'entertainment' (楽-gaku), joined Japanese culture from China, Korea, India and Southeast Asia in the late 8th century, as a form of dance performed at the imperial court, as well as at temples and shrines. [33]
Toyoharu was the first to make the landscape a subject of ukiyo-e art, rather than just a background to figures and events. By the 1780s he had turned primarily to painting. The Utagawa school of art grew to dominate ukiyo-e in the 19th century with artists such as Utamaro, Hiroshige, and Kuniyoshi.
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Onnayu [1] (Ladies' Bath), a colored ukiyo-e print by Torii Kiyonaga (1752–1815) depicting a male sansuke (upper left corner) attending on women at a public bathhouse. Ukiyo (浮世, 'floating/fleeting/transient world') is the Japanese term used to describe the urban lifestyle and culture, especially the pleasure-seeking aspects, of Edo period Japan (1600–1867).
Among his students were the famous ukiyo-e artists Shunchō, Shun'ei, and Hokusai. Most of Shunshō's actor prints are in the hoso-e (33 × 15 centimetres (13.0 × 5.9 in)) format common at the time, but he created a great number of works in triptych or pentaptych sets. However, what truly set his work apart from that of earlier artists was the ...
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