1. UKIYO-E: Images of the Floating World

2. ANTECEDENTS AND INFLUENCES Hyakumanto Darani (c. 764) Muromachi era (1338-1572)—used for book publication, typically Buddhist texts Edo period—less expensive materials and slightly different method of printing responds to rise in demand for literature among the merchant class/ chōnin, or “townsman.”** Kanō—artists in residence to Tokugawa family “one brush, unchanged for a thousand generations Tosa school of painting Tanroku-bon—genre stories, printed with illustrations added by hand. (emulate Yamato-e painting) Kanazōshi—popular stories written in kana** Jōruribon—books of ballad plays Ezōshi—picture books Proto-Ukiyo-e

3. Sumizuri-e ( 墨摺り絵 ?, "ink printed pictures")—monochrome printing using only black ink Benizuri-e ( 紅摺り絵 ?, "crimson printed pictures")—red ink details or highlights added by hand after the printing process ； green was sometimes used as well Tan-e ( 丹絵 ? )—orange highlights using a red pigment called tan Aizuri-e ( 藍摺り絵 ?, "indigo printed pictures"), Murasaki-e ( 紫絵 ?, "purple pictures"), and other styles in which a single color was used in addition to, or instead of, black ink Urushi-e ( 漆絵 ? )—a method that thickened the ink with glue, emboldening the image. Printers often used gold, mica, and other substances to enhance the image further. Urushi-e can also refer to paintings using lacquer instead of paint. Lacquer was rarely, if ever, used on prints. Nishiki-e ( 錦絵 ?, "brocade pictures")—a method of using multiple blocks for separate portions of the image, using a number of colors to achieve complex and detailed images. A separate block was carved to apply only the part of the image designated for a single color. Registration marks called kentō ( 見当 ) were used to ensure correspondence between the application of each block. ?

4. Hishikawa Moronobu (d. 1694) “Father of Ukiyo-e” 1672 Sumizuri-e Monochromatic line reproduction of a drawing—one impression

6. Early 18 th century developments in use of color in the prints Tan-e (use of tan ink) Urushi-e (use of lacquer) Ichikawa Danjuro I in the role of Takenuki Goro Torii Kiyomasu c. 1697

7. ca. 1745 development: using color blocks Prior to this, images hand-colored benizuri-e—”a picture printed with crimson ink” * (often juxtaposed with soft green tones) Ishikawa Toyonobu ca. 1745

9. Suzuki Harunobu (1724-1770) 1765—introduction of polychrome prints using multiple color blocks a.k.a. nishiki-e—brocade picture musha-e—over 100 impressions kimedashi—embossing kirazuri—using mica to obtain silver tone on the print **resulted in adoption of hōsho paper Otani Oniji II, c. 1794 Tōshūsai Sharaku **140 prints in 10 months

11. POPULAR SUBJECTS KABUKI— Images of the theater Yakusha-e, or portraits of Famous actors Bijin-ga— Portraits of feminine beauty Famous courtesans Yoshiwara, or the “Pleasure Quarters” in Edo shunga, or erotica prints (e.g. “dream of the fisherman’s wife”) Heroic narratives & other stories from the existing literary tradition (often reimagined in genre images of the familiar & mundane) Travel narratives Landscapes Ghosts (toward the later 19 th century) NOTE: privileged elite, and humble genre images of mundane daily life— both depicted elegantly

12. VISUAL CHARACTERISTICS COLOR! Decoration & ornament Eloquent, fluid, and often complex network of linear elements Flat, patterned shapes arranged across the picture plane (taking advantage of the flat surface) rather than constructing deep illusory space. ** Asymmetrical compositions

13. Cutting the Key block TECHNIQUE ARTIST CARVER PRINTER

14. Once the key block is finished, the printer runs several impressions and give them to the artist in order that they can “map” in where the different colors should be printed. These individual color maps are used to cut the color blocks.

15. The print set-up

16. Ink is applied with brushes rather than brayers, and then spread evenly over the printable area with horse-hair brushes.

17. Using a baren to transfer ink to the paper Contrast: Gutenberg style press

18. Kanabara from: tōkaidō gojusan-tsugi (53 stages of the Tōkaidō), 1833 Utagawa Hiroshige (1797-1858) Mono no aware

19. http://www.asia.si.edu/explore/japan/pulverer/sumidagawa.asp Ehon Sumidagawa ryōgan ichiran, ca. 1805 Katsushika Hokusai (1760-1849)— ”the one who is crazy about drawing” Freer Gallery of Art

21. CULTURAL PRODUCTION: Some central questions How does one’s work function in/ contribute to contemporary society— both within the discourse about art and beyond? (i.e. why is it important that you make this work now?) e.g. Hokusai & Hiroshige: palette as political resistance Versatility as an artist and longevity of perspective; creative stamina. e.g. Hokusai—”the one who is mad about drawing” 60+ year career Relationship and essential conversation between artist, art, and audience.

22. COLLABORATIVE ARTISTIC PRODUCTION vs. SHIN HANGA (creative printmaking movement in which artist’s hand is involved in and evident in every stage)

23. LEGACY OF VISUAL CULTURE The advantages of becoming fluent in a visual language AS WELL AS literary tradition Ways of looking and interpreting (metaphor/poetics) as well as ways of making MITATE, YATSUSHI, FURYU PROTO-MANGA

24. KATA practice within a tradition vs. pressure to be the avant garde Integrated practice: Devotion to excellence and skill development by following the way of time- honored and time-tested methods that seek to integrate thought/ being with action. e.g. 10 yr apprentice before being released to cut key block “The craftsman’s dedication to the right way of working and the artist’s wonder at the infinite riches of experience.” ~ Oliver Statler