The etymology of the word "ukiyo" goes back to the Buddhist term for
the frailty of a fast-moving world. The concept of "ukiyo" is generally closely related to
Buddhist worldview. In medieval literature and aesthetics, this
the concept meant a vain, mortal, sorrowful world. In the 15th century it received
secular interpretation, it came to be understood as "everyday
reality". In the 17th century, “ukiyo” began to mean the world
entertainment and pleasures that the townspeople could get in the "fun
quarters." It is no coincidence that the main type of fine art
the Edo period was color engraving on a tree - mass art,
reproduced and best known.
The history of the development of engraving is dynamic, bright, it clearly manifested all
stages of the formation of a worldview new era and their characteristic
features of the perception of reality. While other genres
are going through last bloom, a new genre of landscape appears for Ukiyo-e
fukei-ga. His place in the ukiyo-e print is very prominent. Complex and
multilateral process of space formation in ukiyo-e print
carried out primarily as a result of the interaction of Western cultures
and East.
H and the drawings show the stages of work on the Ukiyo-e engraving.
Unlike European author's engraving - ukiyo-e engraving was
the result of collective creativity. Each of its sections had its own
subtlety and required great specialization. The artist painted in black and white
basis (shita-e) and denoted the colors of individual parts, the carver
transferred the picture to the board, and the printer picked up the colors and transferred
image on paper. For an engraving to become a work of art, it was
a real creative community of these masters is needed. Artist
had to take into account the specifics of the cutter's work, since the quality of the line, in
Ultimately, it depended on the carver. Achieving virtuosity in work,
carvers developed their own handwriting, which largely determined
engraving style. With a large flow of products, the carvers cooperated:
the most experienced cut faces and hairstyles, their assistants cut less
responsible clothing and body lines, and the most simple job performed
apprentices. The overall color scheme of the engraving largely depended on
printer, since usually the artist followed only the very first
prints. An important role also belonged to the publisher, who studied the demand and
determining circulation. Often it was he who set the theme of the engraving and influenced
nature of the publication, acting as a kind of patron of talented authors.
The engraving authors received orders from publishers, who selected
carvers and printers. The right to publish the engraving belonged to the publisher;
for commercial reasons, individual sheets were sometimes reprinted and
even whole series, often with some changes: it could be omitted
the name of the series, the sheet could have been published in a different format. collective method
works of the artist, carver and printer, narrow specialization of masters,
the workshop organization of the process determined the originality of Japanese woodcuts.
Technically, Japanese prints are letterpress.
The engraving process was as follows. The artist did
contour drawing ink on thin, translucent paper. The engraver pasted
slightly moistened drawing with the front side on the board of the longitudinal
cut. Cherry wood was usually used for this, sometimes pear wood.
or Japanese boxwood. Trees were cut down in autumn and left to lie all over.
winter, in the spring they were taken out and kept for two years. The surface of the boards
handled very carefully. She should have been so smooth
so that two boards stick together when they touch without glue.
Then the engraver cut a board for a contour print according to the drawing - “the key
board”, with the label “kento” (on which all the other clichés were fitted).
At the same time, the original was destroyed, so so little has survived to this day.
author's drawings, which are, apparently, preliminary
sketches. The lines had to be very thin, no more than a third of the thickness.
drawing lines, as they inevitably expanded during printing. Often
carvers specialized in a particular area,
for example, in the image of people or animals.
When the key
board", the printer made test prints and sent them to the artist, who
approximately outlined the coloring or simply inscribed with hieroglyphs
color names next to each image detail. For every color
a separate board was cut out; a raised label in its upper left corner
provided the ability to accurately match the color with the contour. Very
the choice of wood was important; boards had to have different qualities in
depending on their purpose: the hardest wood was used for
"key board"; for printing the background, the softest wood species were taken.
When all the boards were ready, the work passed into the hands of the printer. He
made paints using vegetable and mineral pigments
origin. Vegetable paints were prepared on rice glue,
mineral - on animal fat. The work of a printer was not mechanical -
following the general instructions of the artist, he himself selected the tones, regulated
color intensity, so that from it artistic vision, in the end
account, the accuracy of the embodiment of the author's intention depended.
Photographs by the printer
The master tries on a template, which is fixed on spikes inserted into holes drilled in the printed board.
Surface preparation - in this place there will be a smooth transition from dark to light.
Applying paint.
Now for the template..
And here is the most important moment...
A slightly damp sheet of paper superimposed on the board, the master smoothed with a special
device in the form of a round pad covered with a dense shell
bamboo sprout (ram). The Japanese practically did not know the printing press
until the 19th century.
This is the baren.
Baren in a firm hand)
The master removes the sheet - the gradient strip turned out!
Now it remains to repeat this operation with other colors))
Paper for engraving had to be soft, hygroscopic, with a smooth
surface and with long strong fibers. She was cut into
established standard; In Japan, the following print formats are accepted
(approximate): oban - 38x25 cm; oban-yokon - 25x38 cm; shikishiban -
20x18 cm; tu-ban - 30x20 cm.
Each sheet has hieroglyphic inscriptions - explanations of plots,
poems, names of characters and signatures of the creators of the engraving. Signatures are usually
consist of a name and a traditionally added hieroglyph, indicating that
what work the signatory did.
In addition to the inscriptions, almost every engraving has several seals. They
give valuable information about when a particular leaf appeared and who
took part in its creation. As a rule, engravings are found
the following seals: the seal of the artist, placed directly under his
signature or next to it; publisher's seal meet sheets,
differing only in publishing seals. This phenomenon may be
explained by the existing practice of reselling boards by one publisher
to another. In this case, the new owners of the board sometimes cut off the seal
old publishing house and added their seal with the date of publication of the engraving and
censor's seal. Control over engraving was one of the manifestations
comprehensive regulation by the Tokugawa government.
Since 1790, in order to combat luxury and the decline of morality
The government periodically imposed restrictions on the subject matter and
engraving techniques. In addition to the nominal seals of the censors, there were notes
"aratame" ("checked") or "kiwame" ("excellent"), placed after
these seals. Deciphering the seals not only helps to establish
the authenticity of the engraving, but also allows the viewer to feel the living
sheet creation atmosphere.
Ukiyo-e prints were published in a wide variety of forms: and in the form of book
illustrations, art books and single sheets, which are often
united in diptychs, triptychs and series, as well as in the form of scrolls
genre sketches from theater life(kabuki zoshi emaki). Their
hindered in tokonoma or hung as a decoration on support poles, appeared
even a special format of narrow and long engravings, which was called hasira-e
(hang on a pole, approximately 65x12 cm).
According to materials: world art. Katsushika Hokusai. Series
engravings "36 Views of Fuji" and "100 Views of Fuji". -SPb: SZKEO LLC
"Crystal", 2006. - 192 p., ill. The compiler of the text is A. A. Ivanova.
As well as materials from the sites http://art.liim.ru and http://woodblock.com
Ukiyo-e is a style of Japanese painting that originated at the end of the 16th century.
History of development
From Japanese, the name of the direction is translated as "floating world." Initially, the word "ukiyo" was used in Buddhism and represented the frailty of being and everyday sadness, and with the advent of the Edo period in Japan, the meaning of this word acquired a completely different meaning. This era brought to the country many social change: for example, specially designated places appeared in cities in which Kabuki theaters were located, appeared brothels. Then the word "ukiyo" began to mean fleeting pleasure.
One of the founders of ukiyo-e is considered to be the famous japanese artist Hisikawa Moronobu. The ukiyo-e style is woodcuts.
Initially, the engravings were monochrome, since only black ink was used in their creation. After a couple of centuries, artists of this direction began to add expressiveness to engravings, painting them with colored paints. At the same time, Suzuki Harunobu developed a reusable printing method to create nishiki-e, which translates to "brocade paintings". The mass production of prints made them available for purchase to many people in Japan who, until that time, could not afford the luxury of buying paintings.
Creation of engravings
Several people took part in the creation of the work: an artist, an engraver, a woodcarver and a printer, each of whom was assigned a large role. Often the works were made to order and their number could be very large.
The sequence of creating an engraving:
- The painter draws the outline of the future drawing on thin paper.
- The engraver glues this sketch onto a wooden board and cuts out the first form for printing on it.
- The engraver makes a number of prints on the form to indicate future shades.
- A wood carver cuts out printing plates that are made for specific colors.
- The printer, according to the instructions from the artist, applies paint to the forms desired color and hand-prints them on rice paper.
Creating an engraving is a very long and laborious process that requires a lot of effort and skill. The final appearance of the picture depended not only on good sketches but also from the experience of engravers and carvers. More than a dozen different shapes were sometimes required to produce color images.
Ukiyo-e updated: September 15, 2017 by: Valentine
Introduction
Every day the world is rapidly changing, changing and human values.. It is possible to understand humanity as a whole only by tracing its history - from the first states - the so-called oriental despotisms that arose millennia ago in the valleys of the great rivers, to the first legal states of the modern type, from a society in which slavery was considered a normal phenomenon, to the emergence of civil society in modern times with its recognition of the democracy of individual rights as the highest civilizational values. One of the interesting types of depiction of history can be considered artistic creativity, namely the Japanese ukiyo-e print, which in fact will be discussed in my essay.
"... To live only the moment given to you, enjoy, admiring the moon, cherry blossoms, autumn leaves maples, singing songs, drinking wine and having fun, not caring in the least about the poverty that defiantly looks into our faces, mindlessly surrendering to the stream, like a pumpkin, impassively drawn by the current of the river. This is what we call ukiyo" - this is what the townspeople of the new capital of Edo (since 1714) and the old one - Kyoto said.
The art of this world - "ukiyo" and, above all, engraving - became a reflection of the whole life of the townspeople, their tastes, interests, fashions. Unlike the aristocratic painting of the Middle Ages, woodcuts were widely circulated, affordable, and truly popular. It was based on tradition book graphics, programs of the favorite theater of the townspeople - Kabuki, but only with the advent of easel graphics(that is, in the understanding of the Japanese - engravings on separate sheets), it began to gain more and more importance as an independent art form.
I . Origin of the term "ukiyo-e"
Ukiyo-e is one of most popular styles Japanese fine art of the Edo period (now Tokyo), is a genre of art, represented mainly by prints from wooden boards, developed on early stages Edo era (1600 - 1868). It appeared in the first half of the 17th century, in the second half of the 19th century. fell into disrepair. The heyday of ukiyo-e is considered to be the 18th century. Ukiyo-e were successful throughout Japan, with the most characteristic forms being established in patterns produced in Edo from about 1680 to the mid-1950s.
The term "ukiyo", borrowed from Buddhist philosophy, literally means "the world of sorrow" - this is the name of the world of samsara, the world of transient illusions, where a person's lot is sorrow, suffering, illness and death. This world, from the point of view of traditionally thinking Japanese, is as illusory and transient as a dream, and its inhabitants are no more real than creatures from the world of dreams. In the 17th century, ideas about the variability and illusory nature of this world, being somewhat rethought, gave rise to a special kind of aesthetics: the impermanence of being was perceived not only and not so much as a source of suffering, but rather as an appeal to the pleasures and pleasures that this impermanence bestows. The world of transient pleasures also began to be called ukiyo, only it was written down with a different hieroglyph with the same sound, literally meaning “floating”, “floating by”. Ukiyo-e means "pictures of the floating world". There is another shade of meaning: artists who worked in the ukiyo-e style. were familiar with the principles Western art and often used in their works knowledge of the laws of perspective, which was atypical for traditional Japanese painting, yamato-e (“Japanese painting”) or kara-e (“Chinese painting”). Therefore, for Japanese viewers who are accustomed to completely flat images, the world in ukiyo-e pictures was perceived as voluminous, “floating up” on the surface of the sheet or, conversely, “sinking” in its depths.
At the end of the seventeenth century Ukiyo began to denote the world of earthly joys and pleasures. Ukiyo-e are pictures of the everyday life of the urban class of the Edo period.
II . History of the development of ukiyo-e
2.1 Ukiyo-e as one of the results of the development of Japanese painting
All styles of Japanese painting are based on the continental direction, which came from China and Korea, and purely Japanese. Until the 10th century dominated Chinese direction, after which it appeared japanese painting- yamato-e, the main representatives of this direction were made in the form of screens and sliding screens. Then, a little later, long pictorial scrolls of emakimono appear, as well as paintings on separate sheets of approximately landscape format. By the XIV century. the emakimono genre is dying out and is being replaced by ink painting in the Zen style - sumi-e, which goes far beyond the monastic tradition and becomes an integral part of secular art. The most important schools of Japanese painting in the Edo period include the Tosa and Rinpa schools, which specialized in drawing pictures in the yamato-e style. In the Edo era, other areas of painting also flourished: the schools of Maruyama-Shizeyo, Akita, Itoo, etc. The namban direction was also popular - literally "southern barbarian" - as the Japanese called Europeans. Artists who worked in this style imitated Western painting and used Western subjects and the laws of perspective in their own way. WITH early XVIII V. the style of bunjinga (“enlightened painting”) comes into fashion - the artists who painted in this style were especially inspired by the southern Chinese painting of the Yuan Dynasty era, called nanga in Japan.
Ukiyo-e is one of the most popular styles of Japanese fine art of the Edo period, it appeared in the first half of the 17th century. As a rule, ukiyo-e is understood as genre painting and especially engraving.
2.2 The world depicted on the "tree"
The technique of woodblock printing, or printing from wooden boards, appeared in Japan as early as the Heian period (794-1185) along with the spread of Buddhism. The woodblock printing technique was first used to produce black and white prints of various Buddhist saints and to illustrate the text of the sutras.
JAPANESE COLOR WOODENGRAPHY (wood engraving) is an uncial phenomenon in the history of world art. The Japanese borrowed its technique from China. Already from the 13th century, small Buddhist icons and amulets were printed in Japan, but these products were of a handicraft nature.
Beginning of the 17th century characterized by the appearance of illustrated woodcut books, published in mass editions. In these editions, text and illustrations were printed in black.
The first easel engravings were also black and white, then they began to be slightly tinted by hand with cinnabar (tan-e), later the engravings were tinted with dark red paint (beni-e) or shaded with black dense paint, which created the effect of black lacquer coating (urushi- e). The first prints using red (benizuri-e) appeared in mid-eighteenth V. Gradually, the number of boards for color printing increased, and in 1765 the first multi-color engravings appeared, which were called “brocade paintings” (nishiki-e).
As an independent art form, engraving is established on last step medieval history Japan - during the Tokugawa period (1603-1868). This time is characterized by the formation of a new urban culture, reflecting the tastes of the third and fourth estates - merchants and artisans, who played everything big role in the economic, and then about cultural life countries. In the art of the 17th-19th centuries, a a new style- ukiyo-e (literally: pictures of the floating world) - the direction of urban art of the Edo period (1613-1868), which also includes engraving. His main theme became the everyday life of the townspeople themselves, their everyday life and holidays.
Color woodcuts are time-consuming and require the participation of several specialists: an artist who writes a sketch of a future engraving; an artisan who "finishes" a sketch to such a degree of detail that it can be cut into a board for printing; a carver transferring the image to a longitudinal cut board, and a separate board was cut out for each color; and a printer who prints by hand, without using a machine. Usually very important was the role of the publisher, who not only carried out general leadership and provided sales, but often he was also the author of the idea of the work. There could be another participant - a poet who composed an accompanying poem for the engraving and in some cases acted as a calligrapher when he wrote down his creation on a sketch with his own hand.
Emerged in the 17th century. in the environment of the third estate, which was gaining strength, less constrained by canons than painting, engraving was the most widespread and accessible form of art for the townspeople.
Mid 1820s - early 1830s Japanese woodblock prints are edged woodcuts. Cliches for her were made on a longitudinal cut of a pear or cherry tree. The artist's sketch was superimposed on the board, and all the lines were cut off on both sides with a sharp knife. At the same time, the smoothness of the pattern of wood fibers could not but affect its linear structure. Initially, the engraving was one-color, and the entire relatively small edition of it was tinted by hand, which gave the works a special charm of spontaneity and man-made. The early development of engraving dates back to 1680-1760.
The ukiyo-e artists focused on the inhabitants of this fickle world of fleeting pleasures: lovely ladies, as a rule, famous geishas and courtesans (bijinga genre), kabuki theater actors, perceived in that era as male “courtesans” (yakusha-e genre), erotic scenes(the so-called shunga - "spring pictures"), scenes of admiring the beautiful natural phenomena, holidays and fireworks, "flowers and birds" (katega), as well as the famous views of natural landscapes, due to their picturesque beauty, have become places of pilgrimage. As the direction of ukiyo-e developed, the scope of the slice of being reflected by it expanded all the time: many pictures of ukiyo-e appeared, illustrating famous literary works, especially the Ise monogatari and Genji monogatari, as well as the military chronicles of the gunki monogatari; eventually, by the time the genre flourished, it covered literally every aspect of the daily life of all sections of Japanese society. The theme of ukiyo-e was also historical plots: images of famous samurai (musya-e genre), especially of the Sengoku Ji-dai era, battle scenes, scenes of bloodshed depicted in a very naturalistic way, fires and fire fighting, as well as the world of ghosts and demons, fantastic grotesques, etc. Beautiful parodies, imitations of the exquisite yamato-e style, were very widespread: courtesans were depicted in the robes and poses of the bodhisattva Kannon or noble ladies Heian era; Zen saint Daruma (Bodhidharma) - in the attire of a courtesan; deities popular among the people - indulging in various kinds of pleasure.
Again, not about everything at once, but specifically about engravings ukiyo-e. beautiful word, but what does it mean? We respect special sites. For example, encyclopedia of Japan from, A to Z
- and find out that:
woodcut technique, or printing from wooden boards, appeared in Japan in the Heian period (794−1185) along with the advent of Buddhism. Beginning of the 17th century characterized by the appearance of illustrated woodcut books, published in mass editions. In these editions, text and illustrations were printed in black.
The first easel engravings were also black and white, then they began to be slightly tinted by hand with cinnabar (tan-e), later the engravings were tinted with dark red paint (beni-e) or shaded with black dense paint, which created the effect of black varnish (urushi- e).
The first prints using red color (benizuri-e) appeared in the middle of the 18th century. Gradually, the number of boards for color printing increased, and in 1765 the first multi-color engravings appeared, which were called “brocade paintings” (nishiki-e).
Ukiyo-e(which literally translated from Japanese means “pictures of the mortal world”) absorbed philosophical contemplation and emotional fullness of admiring the fullness of mortal existence.
In technical terms, the art of ukiyo-e is a complex process that requires the highest professionalism at all stages of performance. Final result work depended not only on the skill of the artists who drew sketches, but also on the virtuoso skill of engravers and printers. To create a multi-color image, it was necessary to engrave from two to three to eight boards. Printing was done by hand, which made it possible to create a picturesque effect of halftones. Boards were painted by hand, polished, blown with gold or silver powder.
Japanese engraving has become synonymous with sophistication and good taste. IN late XIX centuries, ukiyo-e prints gained popularity all over the world, they were collected by Whistler, Manet, Degas, Goncourt, Zola. In St. Petersburg, the first exhibition of ukiyo-e prints was held in 1898. Rich collections of such prints exist in State Hermitage and Kunstkamera.
The word "ukiyo" in ancient times denoted one of the Buddhist categories and could be translated as "mortal changeable world." At the end of the seventeenth century Ukiyo began to denote the world of earthly joys and pleasures. Ukiyo-e are pictures of the everyday life of the urban class of the Edo period.
Emerged in the 17th century. in the environment of the third estate, which was gaining strength, less constrained by canons than painting, engraving was the most widespread and accessible form of art for the townspeople. Themes for ukiyo-e prints were often plots genre stories ukiyo-zoshi, Kabuki plays, classical and modern poetry.
An artist, a carver and a printer participated in the process of creating an ukiyo-e print. An important role was played by the publisher, who studied the demand and determined the circulation. Often it was he who set the theme of the engraving and influenced the nature of the publication.
The engraving process was as follows. Artist made a contour drawing in ink on thin, transparent paper. Engraver, having pasted the drawing with the front side on a board of cherry, pear or boxwood, he cut out the first printing plate. Then several black-and-white prints were made, on which the artist indicated the intended colors. Cutter produced the required number (sometimes more than thirty) printing plates, each of which corresponded to one color or tone. Printer by talking with artist colors, applied paint of vegetable or mineral origin and hand-printed an engraving on wet rice paper. 
The collective method of work of the artist, carver and printer, the narrow specialization of the masters, the workshop organization of the process determined the originality of Japanese woodcuts.
The founder of the direction is considered Moronobu Hisikawa, Kitibe (circa 1618 - around 1694; according to other sources 1625 - around 1694, 1638−1714), Japanese painter and graphic artist. Lived in Edo. More major representatives ukiyo-e were Katsushika Hokusai, who is also known as the founder of the landscape genre in Japanese printmaking, Ando Hiroshige(1797−1858) is one of the largest Japanese graphic artists.
Hiroshige was born in Edo in the family of a petty samurai Ando Ganemon. Thanks to the early training in hieroglyphic writing Tokutaro (the first baby name artist) was also well versed in the properties of paper, brush and ink - the main materials of oriental painting.
The first painting "Mount Fuji in the snow", which has survived to this day (Suntory Museum, Tokyo), was painted by the artist at the age of ten. He was fourteen years old when he became a student Toyohiro, founder of the school Utagawa. At the core early work Hiroshige - real events, scenes peeped on the streets. 
The second stage of creativity was marked by the appearance of landscape engravings. Hiroshige depicts the first series, Eight Views of Omi, published in 1825, dedicated to the beauty of Lake Biwa, located in the province of Omi, without leaving Edo. The next series "Ten Views of the Eastern Capital", released two years later, is dedicated to hometown artist - Edo.
Then the artist completely focuses his attention on landscapes and series of the katyoga (“flowers and birds”) genre. One of the most famous is the sheet "Sparrows over a snow-covered camellia" from a series of 25 engravings.
In August 1832, the artist traveled the entire eastern seaside road - Tokaido. The result of the trip was a large series of landscape engravings, Fifty-three Stations of the Tokaido Road, released by him, which marked the beginning of the flowering of his work.
The next period of creativity Hiroshige largely different from the previous one. He often changes his place of residence, makes repeated, rather long trips around the country, but at the same time does not create large landscape series at all. He devotes most of his time to illustrating books of satirical poetry. 
IN last decade throughout his life, the artist does not part with his favorite themes of Tokaido and Edo landscapes, depicting them on separate engravings, fans, and in books. Hiroshige creates the Thirty-six Views of Mount Fuji series. In the same years, the artist turns to the image of bizarre rocks, caves, waterfalls, gorges and crossings through them. Hiroshige gave his last series of landscapes, consisting of three triptychs, the old poetic title "Snow, Moon, Flowers". Within three recent years During the life of Hiroshige, engravings of his largest series, One Hundred Views of Edo, gradually came out.
landscapes Hiroshige along with works Hokusai made an engraving ukiyo-e leading art form of the first half of the nineteenth century.
Many works by Hiroshige and Hokusai and others different authors You can check it out on the Ukiyoe Japanese Prints website But be careful, there are 9 art galleries with 500 each. You can stay for a long time! 
The founder of ukiyo-e is the Japanese painter and graphic artist Hisikawa Moronobu.
Initially, the engravings were black and white - only ink was used, from the beginning of the 18th century, some works were then painted by hand with a brush. In the 18th century, Suzuki Harunobu introduced the multicolor printing technique for making nishiki-e ("brocade pictures").
Ukiyo-e prints were affordable due to their mass production capability. They were intended mainly for city dwellers who could not afford to spend money on paintings. Ukiyo-e is characterized by paintings everyday life consonant with the urban literature of this period. The engravings depicted beautiful geishas ( bijin-ga), massive sumo wrestlers and popular kabuki theater actors ( yakusha-e). Later, landscape engraving became popular.
Story
The ukiyo-e style originated in the wake of urbanization in the late 16th century, which led to the emergence of a class of merchants and small artisans who began to write stories or novels and decorate them with drawings. Such collections were called echon(jap. 絵本 - picture book?). One example of such art is the 1608 edition of Ise-monogatari (The Tale of Ise) by Honami Koetsu. Such books made extensive use of ukiyo-e as illustrations. Later, engravings began to be printed as independent works - kakemono(jap. 掛け物 - a scroll with a picture or saying?) and posters for kabuki theatre.
Process of creation
Cut out printing plate
The creation of ukiyo-e required an artist, a carver and a printer. Ukiyo-e were made in the following way. The artist made a prototype of an engraving on thin paper with ink, the carver pasted this drawing face down on a board of cherry, pear or boxwood and cut out from it the areas on which the paper was white, thus obtaining the first printing form, but destroying the drawing itself. Then several black-and-white prints were made, on which the artist indicated the intended colors. The carver made the required number (sometimes more than thirty) of printing plates, each of which corresponded to one color or tone. The printer, having discussed the color scheme with the artist, applied paint of vegetable or mineral origin to the resulting set of forms and hand-printed an engraving on wet rice paper.
Notable artists
- Hisikawa Moronobu
- Torii Kiyonaga
- Kunitika
- Kunisida
- Toshusai Shyaraku
- Toyokuni
Notes
Links
- Pictures of the elusive world - ukiyo-e - article by Galina Shchedrina on the site Artgalery.ru
Literature
- A. Savelyeva World art. Masters Japanese engraving. - "Crystal", 2007. - 208 p. - 10,000 copies. - ISBN 5-9603-0033-8
- M. V. Uspensky Japanese engraving. - St. Petersburg: "Aurora", "Amber Tale", 2004. - 64 p. - ("Library of Aurora"). - 5000 copies. - ISBN 5-7300-0699-3
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Synonyms:See what "Ukiyo-e" is in other dictionaries:
- (Japanese images of the everyday world) school of Japanese painting and woodcuts of the 17th-19th centuries. Inherited traditions genre painting 15th-16th centuries It is distinguished by democratic plots, consonant with the urban literature of the Edo period (early 17th 2nd half of the 19th centuries). ... ... Big encyclopedic Dictionary
Ukiyo-e- Ukiyo e UKIYO E (Japanese images of the everyday world), a school of Japanese painting and woodcuts (17th-19th centuries). Ukiyo-e is characterized by portraits of actors and beauties from “ fun neighborhoods”, stories from everyday life, consonant with urban literature ... ... Illustrated Encyclopedic Dictionary
- (Japanese images of the everyday world), a trend in Japanese painting and woodcuts of the 17th and 19th centuries, which reflected the democratic trends in art that arose in connection with the rapid development of urban life. Spread received stories from life ... ... encyclopedic Dictionary
- (Hishikawa Moronobu), Japanese artist, the most famous master of ukiyo e (see UKIIE E) early period. Son famous master decorative fabrics by Hisikawa Kichizaemon. After… … encyclopedic Dictionary
- (1753/1754 1806), Japanese master of color woodcuts and painter. Representative of the ukiyo e school. Portrait and genre exquisitely poetic female images, created with a smooth flowing line, the use of mica powder, giving the effect of ... ... encyclopedic Dictionary
- (1760 1849), Japanese painter and draftsman, master of colored woodcuts. Ukiyo-e representative In the main graphic works(series "36 views of Mount Fuji", 1823 29, "Journey through the waterfalls of various provinces", 1827 33), ... ... encyclopedic Dictionary
- (Suzuki Harunobu) (1725?, Edo, now Tokyo on July 8, 1770, ibid.), Japanese artist, master of ukiyo e (see UKIIE E). Little is known about his life (as well as about the lives of most ukiyo-e masters), but his place in history Japanese art clearly defined... encyclopedic Dictionary
- (Japanese images of the everyday world), a school of Japanese painting and woodcuts (17th-19th centuries). Ukiye e is characterized by portraits of actors and beauties from cheerful neighborhoods, scenes from everyday life, consonant with urban literature of the beginning of 17 2nd ... ... Modern Encyclopedia
