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Gyotaku (魚拓, from gyo "fish" + taku "stone impression", fish print(ing)) is the traditional Japanese method of printing fish, a practice which dates back to the mid-1800s. This form of nature printing, where ink is applied to a fish which is then pressed onto paper, was used by fishermen to record their catches, but has also become an art ...
Utamakura (歌まくら, "poem[s] of the pillow") is a book of 12 erotic prints attributed to Utamaro, published in 1788. [10] The first print depicts a pair of kappa river creatures raping an ama diver underwater. [11] Her hair flows with the running current, [12] and small, seemingly curious fish swim near. [13]
Teresuko (てれすこ) is a Japanese folktale and is recounted in rakugo, a form of Japanese spoken entertainment. In the story, "teresuko" is the name given to a fish, and "suterenkyou" is the name of this fish when it is dried.
The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; [25] the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her ...
The composition of The Great Wave is a synthesis of traditional Japanese prints and use of graphical perspective developed in Europe, and earned him immediate success in Japan and later in Europe, where Hokusai's art inspired works by the Impressionists. Several museums throughout the world hold copies of The Great Wave, many of which came from ...
Tsukioka Yoshitoshi (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年; 30 April 1839 – 9 June 1892) was a Japanese printmaker. [1]Yoshitoshi has widely been recognized as the last great master of the ukiyo-e genre of woodblock printing and painting.
Rough equivalents are fish paste, fish loaf, fish cake, and fish sausage. [1] Shizuo Tsuji , chef and author, recommends using the Japanese name in English, [1] similar to English usage of the word sushi. Kamaboko has been made in Japan since the 14th century and is now available nearly worldwide.
Hiroshige also used Prussian blue extensively in his landscape prints. Other prominent Japanese artists to use it included Keisai Eisen, Utagawa Kunisada and Utagawa Sadahide. The theory that aizuri-e production was prompted by the 1842 sumptuary laws known as the Tenpō Reforms is no longer widely accepted. [5]
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