Ukiyo-E DAIGINJO

Total Page：16

File Type：pdf, Size：1020Kb

EXCLUSIVE JAPANESE IMPORT Ukiyo-e DAIGINJO UKIYO-E BREWERY Ukiyo-e (ooh-kee-yoh-eh) is a Japanese Founded in 1743 in the Nada district of woodblock print or painting of famous Kobe, Hakutsuru is the #1 selling sake kabuki actors, beautiful women, travel brand in Japan. landscapes and city life from the Elegant, thoughtful, and delicious Edo period. Ukiyo-e is significant in sake defines Hakutsuru, but tireless expressing the sensual attributes of innovation places it in a class of its Japanese culture from 17th to 19th own. Whether it’s understanding water century. sources at the molecular level, building a facility to create one-of-a-kind yeast, ARTIST/CHARACTER or developing its own sake-specific rice, Hakutsuru Nishiki, it’s the deep dive into This woodblock print displays the famed research and development that explains kabuki actor, Otani Oniji III, as Yakko Hakutsuru’s ascension to the top of a Edobei in the play, Koi Nyobo Somewake centuries-old craft. Tazuna. The play was performed at the Kawarazakiza theater in May 1794. The artist, Toshusai Sharaku, was known for Brewery Location Hyogo Prefecture creating visually bold prints that gave a Founding Date 1743 Brewmaster Mitsuhiro Kosa revealing look into the world of kabuki. DAIGINJO DAIGINJO DEFINED Just like Ukiyo-e, making beautiful sake Sake made with rice milled to at least takes time, mastery, and creativity. To 50% of its original size, water, koji, and a craft an exquisite sake, such as this small amount of brewers’ alcohol added aromatic and enticing Daiginjo, is both for stylistic purposes. a form of mastery and art. PRODUCT SPECIFICATIONS TASTING NOTES Bright, pronounced aroma of GRADE DAIGINJO strawberry, raspberry, and fresh MILLING PERCENTAGE 50% bouquet. A sensation on the palate ALCOHOL 15.5% layered with flavors of melon, banana, KAKE RICE JAPANESE DOMESTIC mandarin orange with a soft and round KOJI RICE YAMADA NISHIKI mouthfeel and a lingering finish. OR HAKUTSURU NISHIKI SUGGESTED PAIRINGS SMV +3 Buttermilk fried chicken, roast beef YEAST PROPRIETARY hash, honey glazed ham. SERVING TEMP ENJOY CHILLED UPC 720ML 7 47846 05002 7 AWARD – ’21 Worldstar Global Packaging VEGAN FRIENDLY | GLUTEN FREE Awards in the beverage category. HAKUTSURU UKIYO-E EXCLUSIVELY IMPORTED BY SAKÉONE ©2020 SAKÉONE | FOREST GROVE, OREGON/USA | SAKÉONE.COM.

Copy Link

Recommended publications

Seduction: Japan's Floating World Transports Viewers to the Popular and Enticing Entertainment Districts Established in Edo (Present- Day Tokyo) in the Mid-1600S
PRESS CONTACTS: Tim Hallman Annie Tsang 415.581.3711 415.581.3560 [email protected] [email protected] SEDUCTION: JAPAN’S FLOATING WORLD Escape to Japan’s floating world through a selection of rare paintings, woodblock prints and kimonos at San Francisco’s Asian Art Museum SAN FRANCISCO, Feb. 13, 2015—Seduction: Japan's Floating World transports viewers to the popular and enticing entertainment districts established in Edo (present- day Tokyo) in the mid-1600s. Through more than 50 artworks from the acclaimed John C. Weber Collection, visitors can encounter the alluring realm known as the “floating world,” notably its famed pleasure quarter, the Yoshiwara. Masterpieces of painting, luxurious Japanese robes, woodblock-printed guides and decorative arts tell the story of how the art made to represent Edo’s seductive courtesans, flashy Kabuki actors and extravagant customs gratified fantasies and fueled desires. At a time when a strict social hierarchy regulated most aspects of the samurai and townsmen’s lives, the floating world provided a temporary escape. The term “floating world,” or ukiyo, originated from a common Buddhist phrase referring to the suffering of the physical world, which was inverted to signify a realm of boundless indulgence. Both a state of mind and a set of locales, the floating world refers to the diversions available in the brothel districts and Kabuki theaters of Edo, a city whose population had reached a million by the beginning of the 18th century. The floating world’s rise to prominence gave birth to an outpouring of new artistic production, in the form of paintings and woodblock prints that advertised celebrities and spread knowledge of the city’s famous theaters and brothels.
[Show full text]
Publisbing Culture in Eighteentb-Century Japan: the Case of the Edo Publisher Tsutaya Jqzaburô (1751-97)
Publisbing Culture in Eighteentb-Century Japan: The Case of the Edo Publisher Tsutaya JQzaburô (1751-97) Yu Chang A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of East Asian Studies University of Toronto 0 Copyright by Yu Chang 1997 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliogtaphic Services services bibliographiques 395 Wellington Street 395. rue Wellingtm Ottawa ON K1A ON4 OnawaOFJ KlAW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence diowing the exclusive permettant à la National Librq of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othenvise de celle-ci ne doivent être imprimés reproduced without the author' s ou autrement reproduits sans son permission. autorisation. ABSTRACT Publishing Culture in Eighteentb-Century Japan: The Case of the Edo Pubüsher Tsutaya Jûzaburô (1750-97) Master of Arts, March 1997 Yu Chang Department of East Asian Studies During the ideologicai program of the Senior Councillor Mitsudaira Sadanobu of the Tokugawa bah@[ governrnent, Tsutaya JÛzaburÔ's aggressive publishing venture found itseif on a collision course with Sadanobu's book censorship policy.
[Show full text]
Extreme Japan
Extreme Japan At its roots, Japan has two deities who represent opposite extremes – Amaterasu, a Nigitama (peaceful spirit), and Susanoo, an Aratama (wrathful spirit). The dichotomy can be seen reflected in various areas of the culture. There is Kinkaku-ji (the Golden Pavilion) to represent the Kitayama culture, and Ginkaku-ji (the Silver Pavilion) to represent the Higashiyama culture. Kabuki has its wagoto (gentle style) and aragoto (bravura style). There are the thatched huts of wabicha (frugal tea ceremony) as opposed to the golden tea ceremony houses. Japan can be punk – flashy and noisy. Or, it can be bluesy – deep and tranquil. Add to flash, the kabuki way. Subtract to refine, the wabi way. Just don’t hold back - go to the extreme.Either way, it’s Japan. Japan Concept 5 Kabuku Japan Concept 6 wabi If we awaken and recapture the basic human passions that are today being lost in each moment, new Japanese traditions will be passed on with a bold, triumphant face. Taro Okamoto, Nihon no Dento (Japanese Tradition) 20 kabuku Extreme Japan ① Photograph: Satoshi Takase ③ ② Eccentrics at the Cutting Edge of Fashion ① Lavish preferences of truck drivers are reflected in vehicles decorated like illuminated floats. ② The crazy KAWAII of Kyary Pamyu Pamyu. ③ The band KISHIDAN. Yankii style, characterized by tsuppari hairstyles and customized high ⑤ school uniforms. ④ Kabuki-style cosmetic face masks made by Imabari Towel. Kabuki’s Kumadori is a powerful makeup for warding off evil spirits. ⑤ Making lavish use of combs and hairpins, oiran were the fashion leaders of Edo. The “face-showing” event is a glimpse into the sleepless world of night.
[Show full text]
Lesson Title: the Ukiyo-E/Manga Connection
Lesson Title: The Ukiyo -E/Manga Connection Class and Grade level(s): Art 9th-12th Goals and Objectives - Explore a familiar object from a new viewpoint. Use color theory and color schemes to create a painting that evokes an emotional response. Use a limited palette to create unity with color. Use a variety of lines, values, texture, contrast, and emphasis in a personal narrative. Explore a variety of techniques including slab and thrown pottery, gesture and contour drawing. Demonstrate the use of correct facial proportions from model, self and/or photo. Set, pursue, and adjust art making by recognizing new possibilities and adapting. Complete criticism worksheets. Use aesthetic scanning to describe analyze, interpret, and evaluate artwork. Discuss historical themes in artwork. Discuss and classify a variety of art. Time required/class periods needed: 15 hours Primary source bibliography: “The Floating World.” http://home.earthlink.net/~ostmark25/ukiyo-def.html Hokusai Katsushika. http://www.ukiyo-e.se/arthok02.html Ukiyo -e Woodblock Technique. http://education.asianart.org/explore-resources/background- information/ukiyo-e-woodblock-printing-process Sullivan, Michael. The Book of Art: Chinese and Japanese Art. London, Grolier Incorporated, 1965. http://www.amazon.com/Book-Art-Vol-Chinese-Japanese/dp/B000UE2WCK Other resources used: Assorted Images Including: Thirty-six views of Mount Fuji, Katsushika, Hokusai http://www.hokusaionline.co.uk/code/36_views_mount_fuji.html Sudden Shower over Shin- Ohashi Bridge, Hiroshige, Ando
[Show full text]
Japanese Prints: Ukiyo-E and 20Th Century La Salle University Art Museum
La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum Fall 2000 Japanese Prints: Ukiyo-E and 20th Century La Salle University Art Museum Caroline Wistar La Salle University Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum and Wistar, Caroline, "Japanese Prints: Ukiyo-E and 20th Century" (2000). Art Museum Exhibition Catalogues. 23. http://digitalcommons.lasalle.edu/exhibition_catalogues/23 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. JAPANESE PRINTS UKIOY-E AND 20TH CENTURY LA SALLE UNIVERSITY ART MUSEUM FALL 2000 We are much indebted to Mr. Benjamin Bernstein for his generous donation of Ukiyo-e prints and of Japanese sketch books from which the present exhibits have been drawn. SPECIAL EXHIBITION GALLERY JAPANESE “UKIYO-E” WOODCUT PRINTS This selection of Japanese woodcuts is all by “Ukiyo-e” artists who practiced during the sec ond half of the 19th century. “Ukiyo-e” refers to the “fleeting, floating” world of everyday life in Japan especially as experienced by those who serviced and patronized the licensed pleasure and entertainment districts found in all major cities of Japan. Such genre, which was depicted in paintings and books as well as woodcuts, de veloped in the mid 17th century in response to the need of the elite Samurai lords and the grow ing upper-middle class merchant to escape from the rigid confines of the ruling military dictator ship.
[Show full text]
2019/10/30 Edo-Tokyo Museum News 15
English Edition15 Oct. 25 Fri. 2019 No.15 Special Exhibition Saturday, September 14, to Monday, November 4 — Peacekeeping Contributors Special Exhibition Gallery, 1F Samurai in Edo Period *Displays will be changed during the exhibition. A matchlock that could be used on horseback. Horseback matchlock, bullet cases, bullets and priming powder that belonged to NONOMURA Ichinoshin End of Edo period Information Hours: 9:30 – 17:30 (until 19:30 on Saturdays). Last admission 30 minutes before closing. Closed: Mondays (except for September 23, October 14, and November 4), Tuesday, September 24, and Tuesday, October 15. Look at these Organaization: Tokyo Metropolitan Foundation for History and Culture Tokyo Metropolitan Edo-Tokyo Museum, dignied fellows The Asahi Shimbun. — these are samurai ! Admission: ‘Ofcials Belonging to Admission Fee (tax included) Special exhibition only Special and permanent exhibition the Satsuma Domain’ Standard adult ¥1,100 (¥880) ¥1,360 (¥1,090) University/college students ¥880 (¥700) ¥1,090 (¥870) Photographer: Felice Beato c. 1863–1870 Middle and high school students. Seniors 65+ ¥550 (¥440) ¥680 (¥550) Private collection Tokyo middle school students and elementary school students ¥550 (¥440) None Notes: • Fees in parentheses are for groups of twenty or more. “Samurai” is a key word used oen to dene the image of Japan, both at home and abroad. at • Fees are waived in the following cases: Children below school age and individuals with a Shintai Shogaisha Techo (Physical Disability Certicate), Ai-no-Techo (Intellectual Disability Certicate), Ryoiku Techo (Rehabilitation Certicate), Seishin Shogaisha Hoken Fukushi Techo words associations, however, vary from person to person. A member of the samurai class, a (Certicate for Health and Welfare of People with Mental Disorders), or Hibakusha Kenko Techo (Atomic Bomb Survivor’s Certicate) and up to two people accompanying them.
[Show full text]
Ukiyo-E Landscapes and Edo Scenic Places”
Volume 14 | Issue 16 | Number 2 | Article ID 4941 | Aug 15, 2016 The Asia-Pacific Journal | Japan Focus Selections from “Ukiyo-e Landscapes and Edo Scenic Places” Nagai Kafū Translated and introduced by Kyoko Selden and Alisa Freedman Introduction period prose style, influenced by classical Chinese and replete with wordplays, literary Author Nagai Kafū (1879-1959; given name allusions, and parenthetical references. The Nagai Sōkichi) is best known for hisbook was published without illustrations, but fictionalized personal travel accounts American his detailed descriptions enabled readers to Stories (Amerika monogatari, 1908) and French visualize the colorful prints and sense the Stories (Furansu monogatari, 1915), short moods that they evoked. Kafū collected ukiyo-e stories and novellas about Tokyo courtesans in Japan and was widely read in the history of and low-ranking geisha, and an extensive Western art. illustrated diary, Dyspepsia House Diary (Danchōtei nichijō, 1917-59). Kafū wasIn addition to offering a wealth of information fascinated with Edo-period (1603-1868)about ukiyo-e artists, schools, and movements culture, especially that of the chōnin, or urban and introducing texts written in English and commoners. He prided himself on hisFrench about them, this lyrical essay resemblance to Edo literati, such as poet Ōta epitomizes many of the themes of Kafū’s Nanpo (also known as Shokusanjin, discussed literature and shows the faith he had in the in the selection below), who used kyōka ability of artists to capture the tenor of their (playful, often satirical, poetry) as an elegant times and the power of art to shape the ways form of veiled social commentary.
[Show full text]
Redalyc.Ukiyo-E in the Gulbenkian Collection. a Few Examples
Bulletin of Portuguese - Japanese Studies ISSN: 0874-8438 [email protected] Universidade Nova de Lisboa Portugal Paias, Manuel Ukiyo-e in the Gulbenkian Collection. A Few Examples Bulletin of Portuguese - Japanese Studies, vol. 12, june, 2006, pp. 111-122 Universidade Nova de Lisboa Lisboa, Portugal Available in: http://www.redalyc.org/articulo.oa?id=36101207 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative BPJS, 2006, 12Ukiyo-e, 111-122 in the Gulbenkian Collection. A few examples 111 UKIYO-E IN THE GULBENKIAN COLLECTION. A FEW EXAMPLES Manuel Paias The Gulbenkian Museum has around two hundred Japanese woodblock prints in its collection, acquired by Calouste Gulbenkian in the early 20th cen- tury. These prints form an interesting ensemble, focusing on the late 18th and early 19th centuries, a period commonly considered to be the finest period of Japanese printmaking. As these wonderful prints are currently unavailable for public viewing, the Bulletin sought to obtain permission to publish a small part of the collec- tion, thus enabling it to be appreciated by a wider audience. A timely and thorough study of the collection and a painstaking selection was not possible, so the present piece is nothing more than a glimpse that we hope will be extended in the near future. The first print published here (Fig. 1) represents The Lion Dance (Shishi Mai) and is from Isoda Shunei or Shun’ei (1762-1819), a distinguished member of the Katsukawa School, a renowned pupil of Katsukawa Shunshõ (1726-1793), and a major influence on two of the greatest artists of the late 18th century: Sharaku (act.
[Show full text]
Fountain Pen Ink Ukiyo-E Ink TFPI-WD42
Fountain pen ink (aqueous dye) The first Ukiyo-e ink, Hokusai Katsushika, Sharaku Tōshūsai Taccia introduces the new Ukiyo-e ink as part of their fountain pen ink series. The Ukiyo-e is a Japanese printing established in the Edo-period(17th century) to feature the life style, trend and play by the people of the time. Those colors used for Ukiyo-e are too delicate to be expressed in a single word. Our product Ukiyo-e ink reproduce these colors and will expand your enjoyment of drawing with fountain pens. The first 4 colors each are released as Hokusai and Sharaku collection. All inks are made of safe raw materials and all colors were supervised by the color consultant in Japan. These ink collections were also produced by the stationery expert and manufactured by our factory. Next Ukiyo-e collection coming soon. Producer & Color Supervisor Produced by Supervised by stationery sommelier stationery sommelier color consultant Hiroshi Ishizu Hanae Matsumoto Hokusai drew 36 kinds of landscape paintings with Mt.Fuji included as a part of the scenery. This unique style of landscape painting gained prestige. ■ 4 colors of Hokusai Katsushika TFPI-WD42-1 HOKUSAI-BENITSUCHI 08225 5 TFPI-WD42-2 HOKUSAI-KOIAI 08226 2 TFPI-WD42-3 HOKUSAI-SABIMIDORI 08227 9 TFPI-WD42-4 HOKUSAI-FUKAKIHANADA 08228 6 ■ 4 colors of Sharaku Tōshūsai TFPI-WD42-5 SHARAKU-KUROCHA 08229 3 TFPI-WD42-6 SHARAKU-AKASAKURA 08230 9 TFPI-WD42-7 SHARAKU-KOIAME 08231 6 TFPI-WD42-8 SHARAKU-NATANE 08232 3 Sharaku's Ukiyo-e was highly appreciated by depicting the facial caricature for popular Kabuki actor (Japanese traditional performing arts) exaggeratingly.
[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]
THE AGE of EDO a New Exhibition Illuminates One of the Richest Eras in the History of Japanese Art by Kenneth Baker, Smithsonian, December, 1998
THE AGE OF EDO A new exhibition illuminates one of the richest eras in the history of Japanese art By Kenneth Baker, Smithsonian, December, 1998 We live in a culture thick with signs and messages, but we are free to decide which messages speak to us, which to ignore, which to contradict. How would we feel if all the everyday messages we got--the design and materials of the clothes we wore and objects we used, even the foods we ate--reaffirmed the rigid facts of a social order in which our place was fixed? That was the dream of the military rulers who unified Japan for the first time, early in the 17th century. But the stability these rulers imposed had consequences that were very different from what they envisioned--consequences that started to turn Japan from a feudal realm into a modern society. The magnificent exhibition "Edo: Art in Japan 1615-1868" at the National Gallery of uses artworks to make that transformation vivid. Dazzling color wood-block prints such as Toshusai Sharaku's 1794 portrait of actor Otani Oniji III (above) and Utagawa Kuniyoshi's rendering of Miyamoto Musashi subduing a whale were innovations of the Edo era With paintings, sculptures and screens, textiles, weapons and fine porcelains, the show traces the era when Edo--known to us as Tokyo--first became Japan's seat of power, and demonstrates how traditional symbols and new design ideas collided across the whole spectrum of material culture. Scroll paintings contrast the staid landscape images made by scholars with the dashing eccentricity of pictures by samurai and Zen monk amateurs.
[Show full text]
Uikyo-E JUNMAI
EXCLUSIVE JAPANESE IMPORT Uikyo-e JUNMAI UKIYO-E BREWERY Ukiyo-e (ooh-kee-yoh-eh) is a Japanese Founded in 1743 in the Nada district of woodblock print or painting of famous Kobe, Hakutsuru is the #1 selling sake kabuki actors, beautiful women, travel brand in Japan. landscapes and city life from the Elegant, thoughtful, and delicious Edo period. Ukiyo-e is significant in sake defines Hakutsuru, but tireless expressing the sensual attributes of innovation places it in a class of its Japanese culture from 17th to 19th own. Whether it’s understanding water century. sources at the molecular level, building a facility to create one-of-a-kind yeast, ARTIST/CHARACTER or developing its own sake-specific rice, Hakutsuru Nishiki, it’s the deep dive into This painting is the work of Kitagawa research and development that explains Utamaro in 1793, portraying Naniwaya Hakutsuru’s ascension to the top of a O-kita, one of the most beautiful centuries-old craft. women in Edo. It is said that her beauty attracted customers to flock to the Naniwaya teahouse to catch a glimpse Brewery Location Hyogo Prefecture of her every day. Founding Date 1743 Brewmaster Mitsuhiro Kosa JUNMAI Just like Ukiyo-e, sake has an age-old tradition of cultural significance, and JUNMAI DEFINED some say it is an art to craft beautiful Junmai indicates the sake is brewed with sake, such as this smooth and balanced only rice, water, yeast, and koji. Junmai. TASTING NOTES PRODUCT SPECIFICATIONS This Junmai is medium dry with well- GRADE JUNMAI balanced umami and spice, with a MILLING PERCENTAGE 70% subtle fruit tone.
[Show full text]