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UKIYO-E: Images of the Floating World

UKIYO-E: Images of the Floating World. ANTECEDENTS AND INFLUENCES. Hyakumanto Darani (c. 764) Muromachi era (1338-1572)—used for book publication, typically Buddhist texts

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UKIYO-E: Images of the Floating World

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  1. UKIYO-E:Images of the Floating World

  2. ANTECEDENTS AND INFLUENCES • HyakumantoDarani (c. 764) • Muromachi era (1338-1572)—used for book publication, typically Buddhist texts • Edo period—less expensive materials and slightly different method of printing responds to rise in demand for literature among the merchant class/ chōnin, or “townsman.”** • Kanō—artists in residence to Tokugawa family • “one brush, unchanged for a thousand generations • Tosa school of painting Proto-Ukiyo-e • Tanroku-bon—genre stories, printed with illustrations added by hand. (emulate Yamato-e painting) • Kanazōshi—popular stories written in kana** • Jōruribon—books of ballad plays • Ezōshi—picture books

  3. HishikawaMoronobu(d. 1694)“Father of Ukiyo-e”1672 Sumizuri-e Monochromatic line reproduction of a drawing—one impression

  4. Early 18th century developments in use of color in the printsTan-e(use of tan ink)Urushi-e(use of lacquer) Ichikawa Danjuro I in the role of TakenukiGoro Torii Kiyomasu c. 1697

  5. ca. 1745 development: using color blocksPrior to this, images hand-colored benizuri-e—”a picture printed with crimson ink” *(often juxtaposed with soft green tones) Ishikawa Toyonobu ca. 1745

  6. Suzuki Harunobu(1724-1770)1765—introduction of polychrome prints using multiple color blocksa.k.a. nishiki-e—brocade picturemusha-e—over 100 impressionskimedashi—embossingkirazuri—using mica to obtain silver tone on the print**resulted in adoption of hōsho paper OtaniOniji II, c. 1794 TōshūsaiSharaku **140 prints in 10 months

  7. POPULAR SUBJECTS • KABUKI— • Images of the theater • Yakusha-e, or portraits of Famous actors • Bijin-ga— • Portraits of feminine beauty • Famous courtesans • Yoshiwara, or the “Pleasure Quarters” in Edo • shunga, or erotica prints (e.g. “dream of the fisherman’s wife”) • Heroic narratives & other stories from the existing literary tradition (often reimagined in genre images of the familiar & mundane) • Travel narratives • Landscapes • Ghosts (toward the later 19th century) • NOTE: privileged elite, and humble genre images of mundane daily life—both depicted elegantly

  8. VISUAL CHARACTERISTICS • COLOR! • Decoration & ornament • Eloquent, fluid, and often complex network of linear elements • Flat, patterned shapes arranged across the picture plane (taking advantage of the flat surface) rather than constructing deep illusory space. ** • Asymmetrical compositions

  9. Cutting the Key block TECHNIQUE • ARTIST • CARVER • PRINTER

  10. Once the key block is finished, the printer runs several impressions and give them to the artist in order that they can “map” in where the different colors should be printed. These individual color maps are used to cut the color blocks.

  11. The print set-up

  12. Ink is applied with brushes rather than brayers, and then spread evenly over the printable area with horse-hair brushes.

  13. Using a baren to transfer ink to the paperContrast:Gutenberg style press

  14. Kanabarafrom: tōkaidōgojusan-tsugi(53 stages of the Tōkaidō), 1833Utagawa Hiroshige (1797-1858) Mono no aware

  15. http://www.asia.si.edu/explore/japan/pulverer/sumidagawa.asp EhonSumidagawaryōganichiran, ca. 1805 Katsushika Hokusai (1760-1849)—”the one who is crazy about drawing” Freer Gallery of Art

  16. CULTURAL PRODUCTION:Some central questions • How does one’s work function in/ contribute to contemporary society—both within the discourse about art and beyond? (i.e. why is it important that you make this work now?)e.g. Hokusai & Hiroshige: palette as political resistance • Versatility as an artist and longevity of perspective; creative stamina.e.g. Hokusai—”the one who is mad about drawing” 60+ year career • Relationship and essential conversation between artist, art, and audience.

  17. COLLABORATIVE ARTISTIC PRODUCTION vs. SHIN HANGA(creative printmaking movement in which artist’s hand is involved in and evident in every stage)

  18. LEGACY OF VISUAL CULTUREThe advantages ofbecoming fluent in a visual language AS WELL AS literary traditionWays of looking and interpreting (metaphor/poetics) as well as ways of making MITATE, YATSUSHI, FURYUPROTO-MANGA

  19. KATApractice within a traditionvs. pressure to be the avantgardeIntegrated practice:Devotion to excellence and skill development by following the way of time-honored and time-tested methods that seek to integrate thought/ being with action.e.g. 10 yr apprentice before being released to cut key block “The craftsman’s dedication to the right way of working and the artist’s wonder at the infinite riches of experience.” ~Oliver Statler

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