Read Ebook {PDF EPUB} Ukiyo by Mela Ciano Ukiyo by Mela Ciano

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} Ukiyo by Mela Ciano Ukiyo by Mela Ciano Read Ebook {PDF EPUB} Ukiyo by Mela Ciano Ukiyo by Mela Ciano. Archaeology professor by day, backup shooter by night… On a routine assignment, Ukiyo finds herself dragged into a world of danger and deception when she is forced to pull the trigger and kill a man. Torn between the agency that funds her research and a man she knows nothing about, she has to choose sides in a secret war that dates back hundreds of years. Guardian, protector, and her own personal demon… Burislav vowed to watch over her, but hiding his cursed birth right ends up being a secret that could cost Ukiyo her life. When he’s forced out of the shadows after more than twenty years, keeping her safe isn’t as easy as he thinks. This book surprised me. Based solely on the blurb, I honestly wasn't sure if I'd enjoy it or not. but I did, I did, I diiiiiddd. I'm such a sucker for books with mysterious-bad-boy characters. Especially books with a strong female lead. And strong Ukiyo is. and hot/myaterious Buri is. I can't say very much without giving anything away, but this book will be worth your time. It's action-packed and full of unique (and very developed) characters. The plot stayed consistent. with some plot twists here and there, which are always much appreciated. The author did a very good job with her foreshadowing. I liked it. I really liked her twist on standard fantastical creatures. very, very creative views of them.Totally changes the typical Twilight view of things. The biggest thing for me when reading a book has to be the descriptive text. Without it, readers are seeing nothing but darkness. I didn't see a spot of darkness, or even shade, in Ukiyo. The way the author describes feelings and appearances continually amazed me. I felt like I was THERE, like I was breathing in the characters and their hopes and fears. I felt like I could hear the rustle of the leaves, feel the wind brushing past; I was THERE, guys! Seriously, it was astonishing. Now, for the question that must always be asked: Will you read the next book?? Heck yeah! I will FOR SURE read the next book! Sadly, unless it's sent in via review request, I won't be able to get to it pretty much until next year haha. Anyway, the links, and the QOTR (question of the review) will be below. I hope to see you at our TWO hundredth post! I hope to get to know some of you! Keep your noses in the pages! I'll blog you lovelies later!! Ukiyo by Mela Ciano. Archaeology professor by day, backup shooter by night… On a routine assignment, Ukiyo finds herself dragged into a world of danger and deception when she is forced to pull the trigger and kill a man. Torn between the agency that funds her research and a man she knows nothing about, she has to choose sides in a secret war that dates back hundreds of years. Guardian, protector, and her own personal demon… Burislav vowed to watch over her, but hiding his cursed birth right ends up being a secret that could cost Ukiyo her life. When he’s forced out of the shadows after more than twenty years, keeping her safe isn’t as easy as he thinks. An amazing read from a very talented author! Mela Ciano's Ukiyo paints a whole new face to the paranormal genre. Dark, dangerous and vividly told, Ukiyo is plunges us into a world where trust is a commodity to use sparingly and greed and betrayal are powerful weapons. Secret lives, secret wars, secret protectors, one woman will find herself drawn into a world of death with the only sure thing being the sworn protection of her own personal demon. Will they find more than duty between them? A rapid-fire pace and strong characters will take deep into a world both familiar and new to the senses. Mela Ciano has a gift with words and she uses them to create atmosphere, action and three-dimensional characters that leap from each page. Pay attention, this is a ride to enjoy from the safety of your favorite chair and you won’t want to miss one minute detail. For me, the wait is on for book two and beyond. I want to thank Mela Ciano for this ARC edition of Ukiyo in exchange for my honest review. WHAT IS UKIYO-E PROJECT. The words ukiyo and e mean “now” and “image” respectively - so the term ukiyo-e literally means “image depicting the present”. Edo-period ukiyo-e originally portrayed subjects such as fashionable women, popular kabuki actors, and famous locations of its time. UKIYO-E PROJECT stays true to the philosophy of "ukiyo-e" and portrays iconic figures and landscapes of TODAY through traditional woodblock prints. UKIYO-E PROJECT ADVISER. ?〜What is ukiyo-e〜! Ukiyo-e are Japanese traditional woodblock prints, that developed dramatically since the inception of nishiki-e, or “multi-coloured woodblock prints” in the 18th century. It is a craftsmanship that is unique to Japan. Lest we forget the artisans who play a key role in creating ukiyo-e: the illustrator, the woodcarver, and the printer. A brilliant ukiyo-e is born only when they work together at the peak of their craftsmanship. UKIYO-E PROJECT links this tradition from past to present, and onto the future. Ukiyo-e has always depicted the affairs of its time, and has been a mirror of its ages - although the scenes depicted in historical ukiyo-e may seem outdated today, masters have always illustrated themes and subjects that were contemporary to their times. Shigeru Shindo, Executive Director of the International Ukiyo-e Society. Ukiyo-e researcher, connoisseur, and collector Executive Director of the International Ukiyo-e Society Graduate of Tokyo University of Science (Department of Mathematics, Faculty of Science and Engineering, Set Theory major) Director of the Kabuki-za calendar Recipient of the 24th Uchiyama Award (Japan Ukiyo-e Association/2005/ukiyo-e research) Currently conducting an empirical study of ukiyo-e based on his research on ukiyo-e, rakugo, kabuki, and Japanese mathematics. Past Exhibitions. ・2014 150th Anniversary of Utagawa Kunisada’s death , Ota Memorial Museum of Art, Tokyo, Japan. ・2013 Ukiyo-e Floating World , Mitsubishi Ichigokan Museum, Tokyo, Japan. ・2012 Yoshu Chikanobu Exhibition , Hiraki Ukiyo-e Museum, Kanagawa, Japan. ・2009 Yokohama Ukiyo-e Exhibition for the 150th Anniversary of Yokosuka Port Opening, Yokohama Takashimaya Department Store, Kanagawa, Japan. ・2004 Kunishige Exhibition , Tokyo Station Gallery, Tokyo, Japan. ・2004 4 Year Anniversary Ukiyo-e Exhibition , Nakagawa-machi Bato Hiroshige Museum of Art, Tochigi, Japan. ・2001 Rakugo in Ukiyo-e , Tobacco & Salt Museum, Tokyo, Japan. ・1996 Kabuki in Ukiyo-e , Tobacco & Salt Museum, Tokyo, Japan. ・1995 Theatrical Play Toys , Tobacco & Salt Museum, Tokyo, Japan; Osaka City Museum, Osaka, Japan. ・1989 Actor Portrait Prints Exhibition , Liquor Museum, Tokyo, Japan. UKIYO-E PROJECT FOUNDER/ ARTISTIC DIRECTOR. A mirror of its ages, ukiyo-e possesses many stories within. Their bold compositions let our imaginations roam free, but once we understand the references, the mysteries start to unfold. As a metal-carver myself, the creation process of ukiyo-e fascinates me: talking to the artisans, not only do I relate to their craftsmanship, but am also incredibly impressed by the rich expressions and vast possibilities of their skills. There are many Japanese qualities condensed into ukiyo-e: meticulous craftsmanship, stone-set drive, commitment, harmonious teamwork. Through this project, I would be happy to see people from around the world witness and experience these Japanese qualities through ukiyo-e. I hope to keep producing contemporary ukiyo-e that depict our current times, and that will continue to be appreciated centuries from now. Ukiyo-e. Our editors will review what you’ve submitted and determine whether to revise the article. Ukiyo-e , (Japanese: “pictures of the floating world”) one of the most important genres of art of the Tokugawa period (1603–1867) in Japan. The style is a mixture of the realistic narrative of the emaki (“picture scrolls”) produced in the Kamakura period and the mature decorative style of the Momoyama and Tokugawa periods. The ukiyo-e style also has about it something of both native and foreign realism. Screen paintings were the first works to be done in the style. These depicted aspects of the entertainment quarters (euphemistically called the “floating world”) of Edo (modern Tokyo) and other urban centres. Common subjects included famous courtesans and prostitutes, kabuki actors and well-known scenes from kabuki plays, and erotica. More important than screen painting, however, were wood-block prints, ukiyo-e artists being the first to exploit that medium. A new interest in the urban everyday world and its market motivated the swift development of ukiyo-e prints designed for mass consumption. Hishikawa Moronobu is generally accredited as the first master of ukiyo-e. The transition from single- to two-colour prints was made by Okumura Masanobu. In 1765 polychrome prints using numerous blocks were introduced by Suzuki Harunobu. The essence of the ukiyo-e style was embodied in the works of Utamaro, Hokusai, and Hiroshige. This article was most recently revised and updated by Alison Eldridge, Digital Content Manager. The Floating World of Ukiyo-E Early Masters. The earliest Ukiyo-e prints date from about 1600. These early works were monochromatic, with the design laid out in bold black lines. Beginning in the seventeenth century, artists began to add color by hand, including red, blue, yellow, and orange.
Recommended publications
  • How Do Katsushika Hokusai's Landscape Prints Combine Local and Transcultural Elements?
    Cintia Kiss 1921312 [email protected] IMAGINING PLACE: HOW DO KATSUSHIKA HOKUSAI’S LANDSCAPE PRINTS COMBINE LOCAL AND TRANSCULTURAL ELEMENTS? A CONSIDERATION OF CULTURAL APPROPRIATION Master Thesis Asian Studies 60EC Academic year 2017-2018 Supervisor: Dr. Doreen Müller Leiden University Humanities Faculty, MA Asian Studies Track of History, Arts and Culture of Asia Specialization of Critical Heritage Studies of Asia and Europe ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my thesis supervisor, Dr. Doreen Müller, whose help and insights have supported me throughout the phases of researching and writing this dissertation. Her encouraging remarks and contagious enthusiasm provided valuable assistance. Furthermore, I am grateful for the opportunity to be able to conduct my studies at Leiden University, where I could gain valuable knowledge in an international-oriented atmosphere. The variety of courses, workshops and extracurricular opportunities provided a platform to expand my vision and think critically. Lastly, I must say my thanks to my family. Their continuous encouragement, patient listening, unconditional support and love always give me courage to continue moving forward. 1 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................................. 1 TABLE OF CONTENTS ...................................................................................................... 2 LIST OF FIGURES ..............................................................................................................
    [Show full text]
  • The Development of Facial Likeness in Kabuki Actor Prints
    Article The development of facial likeness in kabuki actor prints Henk J. Herwig Introduction The growing popularity of kabuki as a plebeian pastime in the seventeenth century stimulated enterprising publishers to provide the market with woodblock printed text and pictures related to the world of kabuki. Halfway this century actor critiques (hyôbanki) and illustrated play books (kyôgen bon) were issued, while theatre managers began to commission posters (banzuke), advertising their performances. These works, printed in black ink only, were at first dominated by text but gradually more illustrations of kabuki scenes and actors were inserted. The actors were mostly represented as anonymous personalities, despite the fact that the hyôbanki often described and discussed in detail the specific physical beauty and charms of popular actors. In the Genroku period (1688-1704), when kabuki experienced its Golden Age, important developments took place. ew acting styles, such as aragoto, established in Edo by the actor Ichikawa Danjûrô I (1660-1704) and wagoto, initiated in Osaka by the actor Sakata Tôjrô (1647-1709) became popular, and talented scriptwriters, such as Chikamatsu Monzaemon (1653-1725) enriched the kabuki repertory with captivating new dramas. Artists of the Torii School, known for painting illustrated theatre billboards, started in about the same period to design pictures of kabuki actors that were printed with woodblocks. This was the beginning of a unique tradition, unequalled in any other part of the world, that would flourish for almost200 years. This article describes when and how the woodblock printed actor portrait changed in the course of time from anonymous stereotypical depictions into nigao-e in which the individual actor could easily be recognized.1 To facilitate an objective comparison between faces of actors, designed in different periods, digital redrawings were used.
    [Show full text]
  • Pigments in Later Japanese Paintings : Studies Using Scientific Methods
    ND 1510 ' .F48 20(}3 FREER GALLERY OF ART OCCASIONAL PAPERS NEW SERIES VOL. 1 FREER GALLERY OF ART OCCASIONAL PAPERS ORIGINAL SERIES, 1947-1971 A.G. Wenley, The Grand Empress Dowager Wen Ming and the Northern Wei Necropolis at FangShan , Vol. 1, no. 1, 1947 BurnsA. Stubbs, Paintings, Pastels, Drawings, Prints, and Copper Plates by and Attributed to American and European Artists, Together with a List of Original Whistleriana in the Freer Gallery of Art, Vol. 1, no. 2, 1948 Richard Ettinghausen, Studies in Muslim Iconography I: The Unicorn, Vol. 1, no. 3, 1950 Burns A. Stubbs, James McNeil/ Whistler: A Biographical Outline, Illustrated from the Collections of the Freer Gallery of Art, Vol. 1, no. 4, 1950 Georg Steindorff,A Royal Head from Ancient Egypt, Vol. 1, no. 5, 1951 John Alexander Pope, Fourteenth-Century Blue-and-White: A Group of Chinese Porcelains in the Topkap11 Sarayi Miizesi, Istanbul, Vol. 2, no. 1, 1952 Rutherford J. Gettens and Bertha M. Usilton, Abstracts ofTeclmical Studies in Art and Archaeology, 19--13-1952, Vol. 2, no. 2, 1955 Wen Fong, Tlie Lohans and a Bridge to Heaven, Vol. 3, no. 1, 1958 Calligraphers and Painters: A Treatise by QildfAhmad, Son of Mfr-Munshi, circa A.H. 1015/A.D. 1606, translated from the Persian by Vladimir Minorsky, Vol. 3, no. 2, 1959 Richard Edwards, LiTi, Vol. 3, no. 3, 1967 Rutherford J. Gettens, Roy S. Clarke Jr., and W. T. Chase, TivoEarly Chinese Bronze Weapons with Meteoritic Iron Blades, Vol. 4, no. 1, 1971 IN TERIM SERIES, 1998-2002, PUBLISHED BY BOTH THE FREER GALLERY OF ART AND THE ARTHUR M.
    [Show full text]
  • ABSTRACT TRADITIONS Postwar Japanese Prints from the Depauw University Permanent Art Collection
    ABSTRACT TRADITIONS Postwar Japanese Prints from the DePauw University Permanent Art Collection i Publication of this catalog was made possible with generous support from: Arthur E. Klauser ’45 Asian & World Community Collections Endowment, DePauw University Asian Studies Program, DePauw University David T. Prosser Jr. ’65 E. Rhodes and Leona B. Carpenter Foundation Office of Academic Affairs, DePauw University Cover image: TAKAHASHI Rikio Tasteful (No. 5) / 1970s Woodblock print on paper 19-1/16 x 18-1/2 inches DePauw Art Collection: 2015.20.1 Gift of David T. Prosser Jr. ’65 ii ABSTRACT TRADITIONS Postwar Japanese Prints from the DePauw University Permanent Art Collection 3 Acknowledgements 7 Forward Dr. Paul Watt 8 A Passion for New: DePauw’s Postwar Print Collectors Craig Hadley 11 Japanese Postwar Prints – Repurposing the Past, Innovation in the Present Dr. Pauline Ota 25 Sōsaku Hanga and the Monozukuri Spirit Dr. Hiroko Chiba 29 Complicating Modernity in Azechi’s Gloomy Footsteps Taylor Zartman ’15 30 Catalog of Selected Works 82 Selected Bibliography 1 Figure 1. ONCHI Koshiro Poème No. 7 Landscape of May / 1948 Woodblock print on paper 15-3/4 (H) x 19-1/4 inches DePauw Art Collection: 2015.12.1 Gift of David T. Prosser Jr. ’65 2 ACKNOWLEDGEMENTS Like so many great colleges and universities, DePauw University can trace its own history – as well as the history and intellectual pursuits of its talented alumni – through generous gifts of artwork. Abstract Traditions examines significant twentieth century holdings drawn from the DePauw University permanent art collection. From Poème No. 7: Landscape of May by Onchi Kōshirō (Figure 1) to abstract works by Hagiwara Hideo (Figure 2), the collection provides a comprehensive overview of experimental printmaking techniques that flourished during the postwar years.
    [Show full text]
  • Journal of Social and Political Sciences
    Journal of Social and Political Sciences Ellis, James W. (2019), The Floating World of Ukiyo-e Prints: Images of a Japanese Counterculture. In: Journal of Social and Political Sciences, Vol.2, No.3, 701-718. ISSN 2615-3718 DOI: 10.31014/aior.1991.02.03.113 The online version of this article can be found at: https://www.asianinstituteofresearch.org/ Published by: The Asian Institute of Research The Journal of Social and Political Sciences is an Open Access publication. It may be read, copied, and distributed free of charge according to the conditions of the Creative Commons Attribution 4.0 International license. The Asian Institute of Research Social and Political Sciences is a peer-reviewed International Journal. The journal covers scholarly articles in the fields of Social and Political Sciences, which includes, but not limited to, Anthropology, Government Studies, Political Sciences, Sociology, International Relations, Public Administration, History, Philosophy, Arts, Education, Linguistics, and Cultural Studies. As the journal is Open Access, it ensures high visibility and the increase of citations for all research articles published. The Journal of Social and Political Sciences aims to facilitate scholarly work on recent theoretical and practical aspects of Social and Political Sciences. The Asian Institute of Research Journal of Social and Political Sciences Vol.2, No.3, 2019: 701-718 ISSN 2615-3718 Copyright © The Author(s). All Rights Reserved DOI: 10.31014/aior.1991.02.03.113 The Floating World of Ukiyo-e Prints: Images of a Japanese Counterculture James W. Ellis1 1 Academy of Visual Arts, Hong Kong Baptist University, Hong Kong Correspondence: James W.
    [Show full text]
  • List of Exhibits
    June 20 - August 16, 2015 List of Exhibits Decorative Arts from the Mitsui Memorial Museum Collection ※Ukiyo-e display starts from room 4. Room 1 Noh flute named "Otowa", Flute case with Otowa falls design in Maki-e Noh flute: Unknown K1 Box with Otowa-yama and Hototogisu design in Maki-e Case and box: Zōhiko(Nishimura Hikobei VIII) 1940 K2 Articulated metalwork with design of insects Takase Kōzan 20th C. K3 Stationery box with Yatsuhashi bridge design in mother-of-pearl inlay and Maki-e Zōhiko(Nishimura Hikobei VIII) 20th C. K4 Tea cabinet with inlaid design of comb, Ikkan-bari lacquer ware Hiki Ikkan XII 19th C. K5 Tea box with poppy design in Maki-e 17th C. K6 Tea box with hydrengea design in Maki-e 19th C. Black lacquered Tobacco tray and live charcoal container with K7 chrysanthemum design in gold, blue Kochi ware Charcoal container: Eiraku Hozen 19th C. K8 Tobacco pouch String fastener: Eiraku Hozen 19th C. K9 Food box in fan shape, overglaze enamels Eiraku Wazen 19th C. K10 Sake warming pot with celadon glazed lid in a lion shape Pot: Tatematsu Yamashiro 19-20th C. K11 Sake cups with crane, turtle and deer design in Maki-e Design: Maruyama Okyo 19th C. Room 2 K12 Ivory sculpture with design of fruits and vegetables Andō Rokuzan 20th C. Room 3 Landscape Hashimoto Gahō 1899 Wooden water jar of well bucket shape 17th C. Tea bowl, Shonzui Suhama type 17th C. Tea caddy, Bonchō Natsume type, Fujimura Yōken Gonomi style Nakamura Sōtetsu I 1687 Bamboo tea scoop, with the name inspired by Zen words "Matsu-ni-kokon-no-iro-nashi-Take-ni-jōge-no-fushi-ari" Sottakusai 18th C.
    [Show full text]
  • Japanese Colour{Protect Edef U00{U00}Let Enc@Update Elax
    The Project Gutenberg EBook of Japanese Colour-Prints and Their Designers by Frederick Gookin This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Japanese Colour-Prints and Their Designers Author: Frederick Gookin Release Date: May 25, 2013 [Ebook 42811] Language: English ***START OF THE PROJECT GUTENBERG EBOOK JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS*** HARUNOBU. Lovers walking in Snow. Japanese Colour-Prints and Their Designers A Lecture Delivered Before the Japan Society of New York on April 19, 1911 By Frederick William Gookin New York The Japan Society 1913 Contents JAPANESE COLOUR-PRINTS AND THEIR DESIGNERS1 CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS . 35 INTRODUCTION . 37 CATALOGUE . 41 Illustrations HARUNOBU. Lovers walking in Snow. iii MORONOBU. Nobleman and two Ladies at Seashore. 24 KIYOMASU. Actors' Boating Party . 25 MASANOBU. Geisha playing Samisen. 26 TOYONOBU. Actor reading Letter . 27 KIYOMITSU. Daimyo Procession Game. 28 HARUNOBU. Young Woman before Torii. 29 HARUNOBU. The Sleeping Elder Sister. 30 HARUNOBU. The Sleeping Elder Sister. 31 HARUNOBU. The Sleeping Elder Sister. 32 HARUNOBU. Woman reading Letter. 33 KORYUSAI. Musume leaping from Temple Balcony. 34 SHUNSHO. Woman in Red. 39 KIYONAGA. Holiday Group at Gotenyama. 69 KIYONAGA. Picnic Party. 70 BUNCHO. Actor as Woman talking to Men. 71 KIYONAGA. Man and two Women approaching Temple. 72 SHUNCHO. Women watching Girls bouncing Balls. 73 EISHI.
    [Show full text]
  • Japanese Wood Engravings, Their His- Tory, Technique, and Characteristics
    [ijiii!!!!!!!!!!^ ;l!'!'!t^ !!•:;;;:!: ^•!'!'i'i'''!<;- ' PROVO. UTAH - ' ^iJ- %SS, ANDERSON, WILLIAM. Japanese Wood Engravings, Their His- tory, Technique, and Characteristics. 80 pages of text, signatures, in- dex. Illustrated with 6 color plates and 37 pictures in text. 6% by 10 inches, % Japanese vellum. London, 1895. $7.50 Shig^naga (c. 1725)- colour print after NISHIMURA Plate i. From a JAPANESE WOOD ENGRAVINGS THEIR BISTORT, TECHNIQUE AND CHARACTERISTICS By WILLIAM ANDERSON, F.R.C.S. Chairman of the Council of the Japan Society Author of ''''An Historical and Descriptive Catalogue of the Japanese and Chinese Pictures in the British 'Museum'' " 'The Pictorial Arts of Japan^' ^c. LONDON SEELEY AND CO. LIMITED, ESSEX STREET, STRAND NEW YORK, MACMILLAN AND CO. 1895 -^THE LTBP • « «» BRIGHAM YOUNG I PROYO, UiA*» LIST OF ILLUSTRATIONS PLATES PAGE J. From a colour print after Nishimura Shigcnaga (r. 1725) . Frontispiece II. From a colour print after Suzuki Harunobu {c. 1765) to face 6 III. Actor in Female role. From a colour print after Katsugawa Shunsho {c. 1780) „ „ 22 (r. IV. From a colour print after Katsugawa Shuncho 1780) ,, ,, 32 colour print after {c. V. From a Utamaro 1800) •,, „ 50 print after (r. VI. From a colour Utagawa Toyokuni 1820) ,, ,, 64 ILLUSTRATIONS IN THE TEXT^ 1. Reduced facsimile of a woodcut in the Kwanyin Sutra. Dated 1331 ... 8 2. Reduced facsimile of a Korean woodcut in the Sam-Kang-heng-sil 10 3. Reduced facsimile of a wood engraving, attributed to the Buddhist priest Nichiren (1222-1282) 11 4. Agni Dcva, the Fire Divinity. Reduced facsimile of a woodcut, dated in the 2nd year of Sochiu (1325).
    [Show full text]
  • Symbolism in the Portrayal of Women in Eighteenth-Century Ukiyo-E: the Courtesan Prints of Harunobu and Utamaro
    Symbolism in the portrayal of women in eighteenth-century ukiyo-e: the courtesan prints of Harunobu and Utamaro Item Type text; Thesis-Reproduction (electronic) Authors Kolen, Amy Elizabeth Kraft, 1951- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:17:09 Link to Item http://hdl.handle.net/10150/348044 SYMBOLISM IN THE PORTRAYAL OF WOMEN IN EIGHTEENTH-CENTURY UKIYO-E THE COURTESAN PRINTS OF HARUNOBU AND UTAMARO by Amy Elizabeth Kraft Kolen A Thesis Submitted' to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN THE HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 6 STATEMENT BY AUTHOR ■ This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from, this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship.
    [Show full text]
  • Japanese Prints of the Floating World Lucas Livingston
    Japanese Prints of the Floating World Lucas Livingston Pennsic 45, August 8, 2016 [email protected] All works of art in the collection of the Art Institute of Chicago unless otherwise noted. [email protected] This handout, image gallery, and an extensive glossary at www.ancientartpodcast.org/pennsic What's so great about The Great Wave? Japanese woodblock prints of the Floating World have captivated us for centuries with their playful subjects, ephemeral colors, and delicate artistry. Explore the fascinating breadth and history of Japanese prints and their artists with breathtaking examples from the world-renowned collection of the Art Institute of Chicago. Learn all about the traditional printing process from A to Z and get your hands on a laser-etched replica of an 1858 carved block by Hiroshige. “…living only for the moment, turning our full attention to the pleasures of the moon, the snow, the cherry blossoms and the maples, singing songs, drinking wine, and diverting ourselves just in floating, floating, caring not a whit for the poverty staring us in the face, refusing to be disheartened, like a gourd floating along with the river current: This is what we call ukiyo.” — Asai Ryoi, Ukiyo Monogatari (Tales of the Floating World), 1665 1. Kitagawa Utamaro (1753 (?)-1806), Pleasure-Boating on the Sumida River (Sumidagawa funa-asobi), c. 1788/90 3. Attributed to Torii Kiyonobu I, The Actor Takii Hannosuke as an effeminate youth, c. 1707 2. Torii Kiyomasu I, The Actors Nakamura Takesaburo I as Kewaizaka no Shosho and Ichikawa Danjuro II as Soga no Goro dressed as a komuso in the play "Bando Ichi Kotobuki Soga," performed at the Nakamura Theater in the first month, 1715 Page 1 4.
    [Show full text]
  • Ukiyo-E Prints from the Mary Ainsworth Collection
    Ukiyo-e Prints from the Mary Ainsworth Collection, Allem Memorial Art Museum, Oberlin College List of Works Osaka City Museum of Fine Arts / August 10 - September 29, 2019 *Exhibition numbers correspond to the catalogue entry numbers. However, the order of the artworks in the exhibition may not necessarily be the same. *Works in the exhibition are subject to change without notification. *Temperature, humidity, and lighting in the gallery are controlled for the protection of works. No. Artist Title Date Chapter1: The Dawn of Ukiyo-e: Developments after Ink Monochrome (Sumizuri-e ) Prints 1 Hishikawa Moronobu Lovers in a Room Late Enpō era (1673-81) 2 Hishikawa Moronobu Niōmon Gate at Kan’eiji Temple, from the series Flower-Viewing at Ueno Around Ten'na era (c.1681-84) 3 Hishikawa Moronobu Cherry Blossom Viewers, from the series Flower-Viewing at Ueno Around Ten'na era (c.1681-84) 4 Hishikawa Moronobu Fisherman and Boy Startled by a Celestial Picking a Lotus Around Ten'na era (c.1681-84) 5 Torii Kiyomasu I Courtesan Holding a Small Child Around Hōei era (c.1704-11) 6 Torii Kiyomasu I Courtesan and Attendant with Umbrella in the Snow Around Shōtoku era (c.1711-16) 7 Kaigetsudō Dohan Standing Courtesan with Pattern of Cart Wheels and Waves on Her Robe Around Shōtoku era (c.1711-16) 8 Okumura Masanobu Courtesan Striking a Shuttlecock with a Battledore Hōei-Shōtoku era (1704-16) 9 Okumura Masanobu The Yūgao Chapter from the Tale of Genji, from the series Genji Parodies Hōei-Shōtoku era (1704-16) 10 Okumura Masanobu My Love, Who Comes at the
    [Show full text]
  • The Influence of Japanese Color Prints on Modern
    THE INFLUENCE OF JAPANESE---- -------COLOR PRINTS ON MODERN EUROPEAN . PAINTING BY Alita w. Alberga A Dissertation Submitted to the Graduate School In Partial Fulfillment of the Requirements For the Degree of Master of Arts - Department of Art THE MUNICIPAL UNIVERSITY OF WICHITA Wichita, Kansas June, 1954 ACKNONLED GEMENT The writer wishes to express appreciation to the faculty of the Art Department whose contribution to her development made possible the accomplishment of this study. Dr. Eugene J . McFarland gave instruction and helpful advise during the preparation of this thesis for which we are most grateful. Thanks are due Mr . Robert Kiskadden for patient and instructive teaching that resulted in the paintings that illustrate this thesis. We also wish to thank Mr. David E. Bernard for his advice and assistance in the preparation of this paper. OUTLINE INDEX Page The main stream of Oriental art 1 A. Eastern and Western art aims compared ••••• l B. Philosophy of Oriental art ••• 4 c. Chinese influence on Japanese art ••••••• 6 n. The Ukiyoye school of painting ••• 9 A. Social and political conditions 9 B. The artists of the Ukiyoye school. 14 1. The primitive period 15 2. Early polychrome masters • • • • 20 3. Kiyonaga and his followers ••••••• 24 4. Retirement of Kiyonaga to the death of Utamaro • • • • • • • • • 27 · 5. The downfall • • • • • • • • • • • • 34 III. Japonism in Europe 40 A. Extent. of Japanese· influence • • • • • • • • • 40 B. Japanese influence on art in the United States • 46 C. Japanese influence on art in England and France 48 1. Whistler . 48 2. Manet . • . • 51 3. Monet . 53 4. Pisaarro . 55 5.
    [Show full text]