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Japanese Modern Art Painting From 1910 . Edition Stemmle. ISBN 3-908161-85-1; Watson, William, The Great Japan Exhibition: Art of the Edo Period 1600-1868, 1981, Royal Academy of Arts/Weidenfeld & Nicolson; Momoyama, Japanese art in the age of grandeur. New York: The Metropolitan Museum of Art. 1975. ISBN 978-0-87099-125-7. Murase, Miyeko (2000).
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 ...
Kakihan (書き判); the artist's tag, used on prints with (or instead of) a signature; Kamigata (上方); region of Japan referring to the cities of Kyoto and Osaka; Kappazuri (合羽摺); prints of a single colour (usually black) coloured by stenciling. Prints produced entirely by stenciling, without woodblocks, are also called kappazuri.
Ukiyo-e [a] (浮世絵) is a genre of Japanese art that flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica.
Large scale paintings were commissioned to adorn the castles and palaces of the military rulers. The Kanō school, patronized by the ruling class, was the most influential school of the period and, with 300 years of dominance, endured for the longest period in the history of Japanese painting.
Also creating contemporary yūrei-zu in a traditional style is American-born, Japanese-resident artist Matthew Meyer. His Japanese Yōkai series is collected in his illustrated book The Night Parade of One Hundred Demons. According to Meyer, the intention of his paintings is "to recreate the feeling of old Japanese woodblock prints while adding ...
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Tarashikomi (in Japanese 垂らし込み, meaning "dripping in") is a Japanese painting technique, in which a second layer of paint is applied before the first layer is dry. This effect creates a dripping form for fine details such as ripples in water or flower petals on a tree.