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Nishiki-e (錦絵, "brocade picture") is a type of Japanese multi-coloured woodblock printing; the technique is used primarily in ukiyo-e. It was invented in the 1760s, and perfected and popularized by the printmaker Suzuki Harunobu , who produced many nishiki-e prints between 1765 and his death five years later.
After the mid-18th century, full-colour nishiki-e prints became common, printed with a large number of woodblocks, one for each colour. [3] Critics have come to see the late 18th century as a peak period in the general quality of the work. [4] Shunshō of the Katsukawa school introduced the ōkubi-e "large-headed picture" in the 1760s. [5]
Nurioke no bosetsu, colour nishiki-e print, 1766. Zashiki Hakkei (Japanese: 坐敷八景, [a] "Eight Parlour Views") is a series of eight prints from 1766 [2] by the Japanese ukiyo-e artist Suzuki Harunobu. They were the first full-colour nishiki-e prints and are considered representative
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.
Tsuitate no Danjo is a multicolour nishiki-e print made with ink on handmade washi paper [6] in ōban size, about 39 by 26 centimetres (15 in × 10 in). It was published in c. 1797 by Moriya Jihei []. [7]
Hazaemon Ichimura XIII as Benten-kozo Kikunosuke by Toyokuni Utagawa III "Aoto Zōshi Hana no Nishiki-e" (青砥稿花紅彩画), as the original and fullest version of this play is known, is a tale in five acts of the shiranamimono (tales of thieves) sub-category of the kizewamono (rough contemporary piece) genre of kabuki plays.
The "full-color" technique, called nishiki-e in its fully developed form, spread rapidly, and was used widely for sheet prints from the 1760s on. Text was nearly always monochrome, and many books continued to be published with monochrome illustrations sumizuri-e , but the growth of the popularity of ukiyo-e brought with it demand for ever ...
Many nishiki-e. [53] The earliest comprehensive historical and critical works on ukiyo-e came from the West, [54] and often denied Utamaro a place in the ukiyo-e canon. [52] Ernest Fenollosa's Masters of Ukioye of 1896 was the first such overview of ukiyo-e.