Japanese artist Takato Yamamoto’s spectacularly intricate “Heisei Esthiticism” style reflects a myriad of cultural influences from traditional Japanese art and European Renaissance themes to …
Yoshida Hiroshi: Wetterhorn (Uetehorun) - Museum of Fine Arts
The Biwa ‘Seizan’
Le créatif Ono Tako revisite l'art des estampes japonaises en l'appliquant aux princesses Disney et à Sailor Moon : des oeuvres sublimes et traditionnelles.
The illustrator Ono Tako has created beautiful prints featuring Snow White, Cinderella, and The Little Mermaid all inspired by the traditional Japanese technique.
Le créatif Ono Tako revisite l'art des estampes japonaises en l'appliquant aux princesses Disney et à Sailor Moon : des oeuvres sublimes et traditionnelles.
Le concept de la série : je dessine des Pokémon dans un style en ukiyo-e 浮世絵, un sous-genre de l'estampe japonaise !
Le créatif Ono Tako revisite l'art des estampes japonaises en l'appliquant aux princesses Disney et à Sailor Moon : des oeuvres sublimes et traditionnelles.
An extremely popular writer both in her lifetime and in the millenia since, Murasaki Shikibu is credited as writing the world's first novel, The Tale of Genji. A mysterious figure, Murasaki used her illicit knowledge of classical Chinese and Japanese literature not only redefine the genre she wrote in, but to create an artform that survives to this day. Murasaki Like so many of the women we cover, it's unknown if Murasaki Shikibu is even this woman's real name. Probably born in 973 CE, Murasaki not only grew up in a time where the early lives of women weren't deemed worth recording, but in a society where it was considered impolite to use a person's real name. The name we know her by is taken from her father's profession, and the name of the central female character from her novel. Murasaki was the daughter of Fujiwara no Tametoki, a scholar, and lowranking member of the dominant Fujiwara clan. Murasaki's grandfather and great grandfather had both been important poets, and education was highly valued in her family. Consequently, her brothers were both given brilliant educations in both Chinese and Japanese literature. It was uncommon for ladies to be educated this way, as the Chinese language was considered to be unladylike. However, Murasaki showed an eagerness and aptitude for learning, with some stories even saying that she would eavesdrop on her brothers lessons through a door. Recognizing her aptitude, or perhaps tired of her antics, Murasaki's father allowed her to be taught in Chinese language and literature, grousing that such a mind was wasted on a girl. In 998 Murasaki married family friend (and literal family) Fujiwara no Nobutaka. He was about twenty years her senior, and already had a basketball team's worth of wives, and an American football team's worth of children. As was traditional, Murasaki continued to live with her father after her marriage. Nobutaka must have visited at least once, however, because in 999 Murasaki gave birth to a girl she named Kenshi. Nobutaka died a few years later in 1001 when a plague swept Kyoto. Whether or not Murasaki's marriage was a happy one is an interesting question. Japanese tradition paints her as a loving wife and loyal widow, but her writing brings all of this into question. There are certain resemblances between the idyllic Genji and an exiled nobleman of Murasaki's acquaintance whom Murasaki was rumored to have a relationship with. It is questioned if some of the love poems written by Murasaki might be inspired by this nobleman, and if the image of her as a loyal widow might be the moralistic construct of a later era. Paintings capturing the moment Murasaki conceived Genji on Lake Biwa were very popular. After her husband's death Murasaki joined the court of Empress Shoshi as a lady-in-waiting. At the time the worth of a Japanese noblewoman was measured not by her looks, but by her artistic abilities. Being able to write sensitive poems, having beautiful calligraphy, and skillfully matching colors for the elegant draping sleeves of a kimono, was how a lady attracted a man. The sign of a successful Empress was the ability to surround herself with the greatest creative minds, much like the salon of Europe. By the time of her arrival at court Murasaki was already an accomplished poet. She had, however, made no forays into prose. It is, of course, likely, that Murasaki simply woke up one day and decided to write a series of stories about the amorous adventures of a handsome nobleman, but the popular legend is much more exciting. In an episode similar to the gathering of Romantics at Lake Geneva, the Empress Shoshi lamented that there were no good stories, that she was tired of the old romances, and would Murasaki please write a new one. Murasaki agreed, and retreated to a Buddhist temple on Lake Biwa. One night while looking at the moon and lamenting the death of her late husband Murasaki was struck by inspiration, and wrote two whole chapters of her work on the back of sacred Buddhist texts.¹ Genji was an instant hit. It was read by the Empress, and subsequently devoured by all the ladies of the court. This was unsurprising, as monogatari novels were as popular in Heian Japan as romance novels are today. Works like this were written in the fledgling kana, or written Japanese, and were thus accessible to women who were rarely taught Chinese kanji. What is surprising, is that men read Genji too. Empress Shoshi's father, Fujiwara no Michinaga, was an important court influencer, the real power behind the throne, and an avid Tale of Genji fanboy. From him the story circulated through the men of the court until noted male poets were congratulating Murasaki on her creation. Murasaki, unfortunately, wasn't much for life at court. Conservative and introverted, Murasaki detested the inane frivolity and illicit love affairs that made up the daily schedule in the Heian court. She was often viewed as cold and aloof by her contemporaries, and had open rivalries with several other important female poets of the day. When Empress Shoshi left court after the death and abdication of her husband in 1011, Murasaki left with her. Also Murasaki The end of Murasaki's life was quiet. She died some time between 1014 and 1031, either staying with Shoshi to the end, or retiring to a Buddhist convent. She left behind a daughter, and an enormously popular work twice the length of War and Peace. The Tale of Genji is perhaps the most important piece of Japanese literature. Its glimpses into the life of aristocratic Heian Japan are not only precious from a historical perspective, but the slice of life narrative and overarcing character development make it a literary gem as well. Additionally, Genji was a major factor in the standardization of kana, and became required study for anyone hoping to become a scribe. The novel was copied out hundreds of times, and when woodblock printing came around it was distributed even further beyond aristocratic circles. It experienced a huge resurgence in popularity during the Edo period of the seventeenth and eighteenth centuries, and owning a piece of Genji 'fanart' was considered the height of sophistication. This popularity continues to this day, with The Tale of Genji being translated over and over again, and being treated to reimaginings in a variety of mediums in and out of Japan. ¹This writing on the back of sacred texts wasn't seen as sacrilege like it would have been if written on a Bible, Torah, or Koran. Instead, this was used to justify reading The Tale of Genji to later audiences who had religious scruples about the content. Sources A History of Japanese Literature by William George Aston Beyond The Tale of Genji: Murasaki Shikibu as Icon and Exemplum in Seventeenth- and Eighteenth-Century Popular Japanese Texts for Women by Satoko Naito Murasaki Shikibu: Japanese Courtier and Author Murasaki Shikibu: the Brief Life of a Legendary Novelist Murasaki Shikibu-Tales of Genji Murasaki Shikibu-New World Encyclopedia Murasaki Shikibu-Famous Inventors World Changing Women-Murasaki Shikibu Summary of The Tale of Genji Tale of Genji The Tale of Genji: Work by Murasaki The Tale of Genji Historical Background Background of The Tale of Genji The Tale of Genji (Genji Monogatari) In Celebration of The Tale of Genji, the World's First Novel
One of the great Japanese woodblock artists, Hiroshi Yoshida (1876-1950) was especially noted for his exquisitely detailed, evocative prints of landscapes around the world. His work is beautiful, subtle and often atmospheric, displaying a real mastery of his technique, which allowed him to capture the subtleties of light and form. Yoshida often reused the same woodblocks, varying the colours and saturation to suggest alternate moods of the same scene – a different time of day, or even different weather conditions. Initially trained as a painter (of some renown), Yoshida began working with woodblocks in the early 1920s, and after a meeting with the owner of the Watanabe Print Store in Tokyo he had his first series of prints published. The woodblock technique is notoriously time-consuming and difficult, but Yoshida seemed able to capture the most delicate graduations of colour and the tiniest details in a temple façade or mountain face. Yoshida was a keen traveller and visited numerous countries from the early 1900s onwards - his cosmopolitan attitude is reflected in the landscapes and studies he created in countries like India and America. The traditional Japanese techniques in his work applied to a changing foreign world at the beginning of the 20th Century make for some fascinating, unexpected images, which sit comfortably alongside his more elegiac landscapes. Whilst the world has changed almost immeasurably in the 50 or so years since Yoshida died, when viewed today, well-kept examples of his woodblocks still have a real vibrancy and warmth to them. Yoshida died in 1950 but his two sons Toshi and Hodaka both became respected woodblock artists in their own right, carrying on the family tradtion. In fact, since the mid-1800s the same Yoshida family - Hiroshi's forebears - has produced eight artists of serious renown – a veritable woodblock dynasty. Boat in dry dock, Kinoe Grand Canyon (Bright Variant), 1925 The Cherry Tree In Kawagoe, 1935 Obatan Parrot II, 1926 Yarigate, date unknown Yomei Gate, 1937 Taj Mahal, 1931 Taj Mahal, Night, 1931 Snake Charmers, 1932 Sketch of a Tiger, 1926 Kinkaku, 1933 Kameido Bridge, 1927 Iris Garden In Horikiri, 1928 Obatan Parrot, 1926 Icho In Autumn, 1926 Udaipur 1931 Early Morning, Fujiyama, 1928 Elephant, 1931 Eboshidake, 1926 Cryptomeria Avenue, 1937 Climbing Snow Valley, 1926 Cave Temple In Ellora, 1932 Breithorn, date unknown Avenue Of Cherry Trees, 1935 Konoshima, 1935 All images © Estate of Hiroshi Yoshida
Read our guide to Japan's most important Shinto kami and their primary shrines throughout the islands.
Japanese Women and Girl In Western-style Clothes, Hats And Shoes The Deer Milker Breast Feeding Girl Practicing The Kanji Women And Girls In Western Dress And Various Hairstyles Cherry Blossom The …
Ehagaki sekai (絵葉書世界), Late Meiji era postcards, Japan, c. 1908.
The illustrator Ono Tako has created beautiful prints featuring Snow White, Cinderella, and The Little Mermaid all inspired by the traditional Japanese technique.
Hiroshi Yoshida (1876-1950) created a total of 259 woodblock prints during his lifetime. He chose many scenes from his travels outside Japan and from his mountaineering passion. Writing about Yoshida's prints in chronological order is like writing about his life.
The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work.
www.hiroshi-hirakawa.org/painting/
atsuki segawa animates traditional ukiyo-e woodblock prints through gif art, bringing historic compositions to life with a humorous and contemporary twist.
The best way to learn about nihonga is to dive in headfirst, so we’re are shining a light on some of the best contemporary Japanese artists of the genre.
Geiko (geisha) Komitsu in the dark blue kimono, with maiko (apprentice geisha) Tokiko seated beside her, during the late 1910s.
A courtesan, recognisable by her 'geta' (very high clogs), is taking an evening walk to enjoy the cherry blossoms in moonlight with her 'kamuro' (child attendant). Edo’s licensed pleasure quarter, the Yoshiwara, was famous for its central avenue lined on ...
This winter the walls of the Rotunda Galleries will be decked with a vibrant array of Japanese woodblock prints from the Gibbes permanent collection. These examples of eastern art from Japan’s ukiyo-e school will be accompanied by works produced by Charleston artists who were profoundly influenced by the influx of Japanese art during the early […]
★ 50% OFF 3+ ITEMS ★ 55% OFF 6+ ITEMS ★ 60% OFF 9+ ITEMS ★ Katsushika Hokusai's classic 19th Century woodblock print 'The Great Wave Off Kanagawa' available as a high resolution giclée print in a variety of bespoke sizes. __________ PRINT • High resolution giclée art print available in a variety of sizes • Printed borderless using a wide set of vegan and archival pigment inks for fade resistance and print longevity • Choose 300gsm Premium acid-free Lustre paper for high contrast, deep tones and rich colours • Choose 310gsm Textured Cotton fine art paper for superior archival quality with a textured matt finish* __________ FRAMES Prints can be purchased in a bespoke wood frame with a textured mat border (also known as a mount or passepartout). They are available in a wide range of finishes in the following sizes: 8" x 12" Print without Mat 10“ x 14” Print with Mat in 12” x 16” Frame 13” x 19” Print with Mat in 16” x 22” Frame 16” x 22” Print with Mat in 20” x 26” Frame All of our framed products include our Textured Cotton fine art paper due to its archival properties and resilience to scuffs and fingerprints. This means that the artwork can be presented ‘exposed’ and without a glass sheet for optimum appearance. If you would like your framed product to include a glass sheet, then please get in touch for a custom quote. We recommend purchasing a glass sheet if you plan to hang your framed print in an area susceptible to moisture, such as in a bathroom or kitchen. For any other custom requests, please don’t hesitate to get in touch and we will endeavour to accommodate you. __________ MORE INFO All products are produced in the UK and made to order. *Our textured cotton paper maintains a bright white finish without the use of optical brighteners that are so often used in fine art papers, making them much safer for the environment. Made entirely of cotton fibres, the paper is a fantastic eco-friendly alternative to standard inkjet paper and is both acid and lignin free. All of our packaging materials are 100% plastic-free and either widely recyclable or compostable. We use only 100% recycled paper for packing slips and shipping labels. Please note that colour and brightness may appear differently depending on your device settings. Different sizes may require slightly different crops of the full image. We are always happy to offer size recommendations if required.
Some of the most inspired gifs — and acts of appropriation — we've seen lately are Segawa Atsuki's incredible animations of pre-modern Japanese prints here. We find this version of The Great Wave, Hokusai's iconic woodblock from the 1800's curiously soothing, as though we were IN that boat riding waves. We imagine ourselves on that boat riding the waves...Here's a more serene boatride across a river to cool out your day.We sometimes put these 'Kites flying' on a separate web page as we work; they curiously bring in lovely see breezes.via BoingBoing via Gif Magazine
