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However, there was a movement to revive the practice as a symbol of female empowerment and of their Ryukyuan cultural heritage. [4] Some people, concerned about the professional ramifications of permanent tattoos on their hands, turned to temporary Hajichi made using fruit-based inks.
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 ...
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 ...
Kōjien defines bijin-ga as a picture that simply "emphasizes the beauty of women", [1] and the Shincho Encyclopedia of World Art defines it as depiction of "the beauty of a woman's appearance". [2] On the other hand, Gendai Nihon Bijin-ga Zenshū Meisaku-sen I defines bijin-ga as pictures that explore "the inner beauty of women". [3]
komejirushi (米印, "rice symbol") This symbol is used in notes (註, chū) as a reference mark, similar to an asterisk ＊ 2196: 1-1-86: FF0A: hoshijirushi (星印, "star symbol") asterisk (アステリスク, "asterisk") This symbol is used in notes (註, chū) 〽: 1-3-28: 303D: ioriten (庵点) This mark is used to show the start of a ...
Utamakura (歌まくら, "poem[s] of the pillow") is the title of a 12-print illustrated book of sexually explicit shunga pictures, published in 1788. The print designs are attributed to the Japanese ukiyo-e artist Kitagawa Utamaro, and the book's publication to Tsutaya Jūzaburō.
After decades of modernization and Westernization during the Meiji era, architecture, art and clothing in Japan came to follow Western modes. Japanese art students were trained in the Western tradition. Western oil paintings were considered high art and received official recognition from the Bunten (The Ministry of Education Fine Arts Exhibition).
Originally Katsumiyagawa Yūsuke, "Katsukawa Shunshō" is one of many art-names (gō) taken on by the artist during his life. Others include Jūgasei, Ririn, Yūji, Kyokurōsei, and Rokurokuan. [2] Prior to signing his works with one of these gō, he used a stamp in the shape of a gourd surrounding the character mori (森), meaning "forest"。