Japanese Printmaking in the Ukiyo-e Style (17th-19th centuries)
Japanese printmaking can be dated to as early as the 7th century, the earliest prints used to duplicate texts, especially Buddhist scriptures. By the 17th century, however, artists began using woodblocks not only for text but also to create patterns and images on silk and paper.
Between 1603 and 1868, during the Edo Period of Japanese history, Japan came under control of the conservative Tokugawa Shogunate. Members of the Tokugawa clan ruled over a feudal state, essentially dividing Japanese society into four classes: warriors, farmers, artisans, and merchants. Within each major city, the shogunate established a walled off district in which members of all classes intermingled, attending brothels, teahouses, and theaters for entertainment. The term ukiyo-e has come to describe life in these districts. Ukiyo, drawn from Buddhist teachings, refers to the transitory nature of life. The Japanese character for "to float" was added to create ukiyo-e which is often translated as "pictures of the floating world" and which describes art (woodblocks and paintings) that depicts popular imagery such as courtesans, romantic lovers, and kabuki actors. Newly wealthy members of Japanese society of the time, especially merchants and artisans, purchased this artwork to be displayed on the relatively little wall space their homes had.
Between 1603 and 1868, during the Edo Period of Japanese history, Japan came under control of the conservative Tokugawa Shogunate. Members of the Tokugawa clan ruled over a feudal state, essentially dividing Japanese society into four classes: warriors, farmers, artisans, and merchants. Within each major city, the shogunate established a walled off district in which members of all classes intermingled, attending brothels, teahouses, and theaters for entertainment. The term ukiyo-e has come to describe life in these districts. Ukiyo, drawn from Buddhist teachings, refers to the transitory nature of life. The Japanese character for "to float" was added to create ukiyo-e which is often translated as "pictures of the floating world" and which describes art (woodblocks and paintings) that depicts popular imagery such as courtesans, romantic lovers, and kabuki actors. Newly wealthy members of Japanese society of the time, especially merchants and artisans, purchased this artwork to be displayed on the relatively little wall space their homes had.
In response to the increased demand for this popular art between about 1660 to 1764, more and more artists experimented with printing techniques and composition as they focused their attention on ukiyo-e subjects. In some cases, the artists chose to leave their prints in black and white; in other cases, they chose to add color to their prints by hand. By around 1742, color began to be added by use of a second woodblock. Okumara Masanobu is often credited with the development of using a second woodblock for printing additional color. Here are some examples of prints from this early period in Japanese printmaking.
Hishikawa Moronobu (1625-c. 1694), Lovers Beside Flowering Autumn Grasses or Lovers in a Garden (1680s)
Okumara Masanobu (1686-1764), Woman with Toys for the Boys' Festival or Woman Carrying Tray with Bows and Arrows (c. 1730)
Torii Kiyonobu I (1664-1729), Woman Dancer with Fan and Wand or Kabuki Actor (c. 1708)
Torii Kiyotada (active 1710-1740), Actor Dancing or Ichikawa Danjuro II in the Scene "Wait a Moment" (Shabaraku) (c. 1715)
From about 1764 to 1806, polychrome printing with multiple woodblocks, became widespread, the technique having been fully developed by the engraver Kinroku. Many of the artists of this time designed not only individual images but also diptychs (two separate prints that made up a larger composition) and triptychs (three separate prints that made up a larger composition). Here are some prints from this period.
Susuki Harunobu (1725-1779), Girl with Lantern Descending Stairs or Woman Admiring Plum Blossoms at Night
Susuki Harunobu (1725-1779), Young Lovers in a Snowy Landscape or Lovers Walking in the Snow (1764-1772)
Katsukawa Shunsho (1726-1793), Ichikawa Danjuro V in a Dramatic Interlude or Ichikawa Danjuro V in a Shibaraku Role (c. 1779)
Among the printmakers of this time, Torii Kiyonaga and his followers amplified their compositions and color schemes. For some of these pieces, the artists designed three to five woodblocks to form larger compositions.
Torii Kiyonaga (1752-1815), Matsumoto Koshiro IV Smoking a Pipe or The Actor Matsumoto IV (c. 1783)
Torii Kiyonaga (1752-1815), Court Lady near a Willow Tree or Kanjo: A Court Lady (c. 1790)
Toward the end of this period, from about 1790 to 1806, Kitagawa Utamaro and Toshusai Sharaku stand out for their techniques and their depictions of their subject matter.
Kitagawa Utamaro (1753-1806), Awabi Fishers
Kitagawa Utamaro (1753-1806), Kitchen Scene (c. 1794)
Toshusai Sharaku (worked 1794-1795), Segawa Tomisaburo II in a Female Role or Segawa Tomisaburo II as Yadorigi in the Play "Hana Ayame Bunroku Soga" (1794)
Toshusai Sharaku (worked 1794-1795), Ichikawa Ebizo IV in a Male Role or Kabuki Actor Ichikawa Ebizo (Ichikawa Danjuro V) in the Play "The Colored Reins of a Loving Wife" (1794)
During the 19th century, landscapes became a popular subject alongside the more traditional ukiyo-e imagery. Many artists developed long series of prints. Here are some of the prints created by two of the most popular artists of the time.
Katsushika Hokusai (1760-1849), The Great Wave off Kanagawa (c. 1829-1833)
Katsushika Hokusai (1760-1849), The Mishima Pass or Mishima Pass in Kai Province (1830-1832)
The previous two prints were from Hokusai's series, "The Thirty-six Views of Fuji" which included ten supplemental prints for a total of forty-six. Each print featured Mt. Fuji somewhere in the composition.
Katsushika Hokusai (1760-1849), The Falling Mist Waterfall or Kirifuri Waterfall at Kurokami Mountain in Shimotsuke (1832)
Utagawa Hiroshige (1797-1858), Clear Weather after Snow, number 47 from the series, "The Fifty-three Posting Stations of the Tokaido" (completed in 1834)
Utagawa Hiroshige, (1797-1868), The Jumantsubo Plain or Jumantsubo Plain at Fukagawa Susaki (1856), number 107 from the series, "The Hundred Famous Views of Edo"
When the Tokugawa Shogunate came to an end and the Meiji Restoration led to a modernization of Japan, ukiyo-e art went into decline. Social changes and technological changes (such as the advent of photography) contributed to its decline over the second half of the 19th century. While this style of printmaking declined in Japan; however, traditional ukiyo-e prints found new audiences in Europe and the United States. Edouard Manet, James McNeill Whistler, Vincent van Gogh, Mary Cassatt, and numerous other artists drew inspiration from Japanese printmaking while developing their own works, including prints and paintings. These Western artists found new subjects to explore, new techniques to develop, and new compositions and perspectives for their work as they studied these Japanese printed images.
Toward the end of this period, from about 1790 to 1806, Kitagawa Utamaro and Toshusai Sharaku stand out for their techniques and their depictions of their subject matter.
Kitagawa Utamaro (1753-1806), Awabi Fishers
Kitagawa Utamaro (1753-1806), Kitchen Scene (c. 1794)
Toshusai Sharaku (worked 1794-1795), Segawa Tomisaburo II in a Female Role or Segawa Tomisaburo II as Yadorigi in the Play "Hana Ayame Bunroku Soga" (1794)
Toshusai Sharaku (worked 1794-1795), Ichikawa Ebizo IV in a Male Role or Kabuki Actor Ichikawa Ebizo (Ichikawa Danjuro V) in the Play "The Colored Reins of a Loving Wife" (1794)
During the 19th century, landscapes became a popular subject alongside the more traditional ukiyo-e imagery. Many artists developed long series of prints. Here are some of the prints created by two of the most popular artists of the time.
Katsushika Hokusai (1760-1849), The Great Wave off Kanagawa (c. 1829-1833)
Katsushika Hokusai (1760-1849), The Mishima Pass or Mishima Pass in Kai Province (1830-1832)
The previous two prints were from Hokusai's series, "The Thirty-six Views of Fuji" which included ten supplemental prints for a total of forty-six. Each print featured Mt. Fuji somewhere in the composition.
Katsushika Hokusai (1760-1849), The Falling Mist Waterfall or Kirifuri Waterfall at Kurokami Mountain in Shimotsuke (1832)
Utagawa Hiroshige (1797-1858), Clear Weather after Snow, number 47 from the series, "The Fifty-three Posting Stations of the Tokaido" (completed in 1834)
Utagawa Hiroshige, (1797-1868), The Jumantsubo Plain or Jumantsubo Plain at Fukagawa Susaki (1856), number 107 from the series, "The Hundred Famous Views of Edo"
When the Tokugawa Shogunate came to an end and the Meiji Restoration led to a modernization of Japan, ukiyo-e art went into decline. Social changes and technological changes (such as the advent of photography) contributed to its decline over the second half of the 19th century. While this style of printmaking declined in Japan; however, traditional ukiyo-e prints found new audiences in Europe and the United States. Edouard Manet, James McNeill Whistler, Vincent van Gogh, Mary Cassatt, and numerous other artists drew inspiration from Japanese printmaking while developing their own works, including prints and paintings. These Western artists found new subjects to explore, new techniques to develop, and new compositions and perspectives for their work as they studied these Japanese printed images.
