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The Hōeidō edition of the Tōkaidō is Hiroshige's best known work, and the best sold ever ukiyo-e Japanese prints. [2] Coming just after Hokusai's Thirty-six Views of Mount Fuji series, it established this new major theme of ukiyo-e, the landscape print, or fūkei-ga, with a special focus on "famous views".
This file has multiple extracted images: Kuniyoshi Utagawa, For cats in different poses (cropped).jpg Cat back detail, Kuniyoshi Utagawa, For cats in different poses (cropped).jpg
Chelsea Candelario/PureWow. 2. “I know my worth. I embrace my power. I say if I’m beautiful. I say if I’m strong. You will not determine my story.
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 ...
Iwao Akiyama (秋山 巌, Akiyama Iwao, March 21, 1921 – September 15, 2014) was a Japanese woodblock printmaker and artist known for distinctive prints of owls, cats, and other animals in the style of naive or folk art. [1] [2] [3] Akiyama was born in 1921 in Takeda, Ōita Prefecture, on the island of Kyushu.
Japanese commonly use proverbs, often citing just the first part of common phrases for brevity. For example, one might say i no naka no kawazu (井の中の蛙, 'a frog in a well') to refer to the proverb i no naka no kawazu, taikai o shirazu (井の中の蛙、大海を知らず, 'a frog in a well cannot conceive of the ocean').
The print is a vertical ōban of 37.9 × 24.9 centimetres (14.9 × 9.8 in), [24] and is a nishiki-e —a full-colour ukiyo-e print made from multiple woodblocks, one for each colour; the inked blocks are pressed on Japanese handmade paper. To produce a glittering effect the background is dusted with muscovite, a variety of mica.
Geisha playing go, a woodblock print. Kikukawa Eizan (菊川 英山, 1787 – July 17, 1867) was a designer of ukiyo-e style Japanese woodblock prints.He first studied with his father, Eiji, a minor painter of the Kanō school, and subsequently with Suzuki Nanrei (1775–1844), of the Shijō school.
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