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Japan: 'Shelter from the Rain, Encounters on the Road at New Year, No. 6: Actors Ichikawa Kodanji IV, Iwai Kumesaburo III, Bando Hikosaburo IV'. Part of triptych print by Utagawa Kunisada I (1786-1865), 1855. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Kanagawa Station: Actor Ichikawa Ebizo V as Ferryman Tonbei'. From the series 'Fifty-three Stations of the Tokaido Road' by Utagawa Kunisada I (1786-1865), 1852. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Shelter from the Rain, Encounters on the Road at New Year, No. 5: Actors Arashi Kichisaburo III, Asao Okuyama III, Ichikawa Hirogoro I, Nakamura Daikichi III'. Part of triptych print by Utagawa Kunisada I (1786-1865), 1855. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Shelter from the Rain, Encounters on the Road at New Year, No. 4: Actors Sawamura Tossho II, Nakamura Tsuruzo I, Kawarazaki Gonjuro I'. Part of triptych print by Utagawa Kunisada I (1786-1865), 1855. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Japan: 'Act Seven'. Woodblock print from act seven of the <i>Chushingura</i> by Utagawa Kunisada (1786-1865), c. 1840-1860. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Japan: 'Tale of the Courtesan Shiratama'. Woodblock print by Utagawa Kunisada (1786-1865), 1861. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Japan: 'Twilight Snow on Mount Fuji: Complete View of the Back Shrine and the Middle Shrine at Shimo Sengen'. From the series 'Eight Views of Famous Places' by Utagawa Toyokuni II (1777-1835), c. 1833-1834. Utagawa Toyokuni II, also known as Toyoshige, was a ukiyo-e woodblock artist in Edo. He was the pupil and son-in-law of Utagawa Toyokuni I, and only began using his teacher's name after his death in 1825. Kunisada, another of Toyokuni I's students, did not recognise Toyoshige's claims and declared himself 'Toyokuni', becoming leader of the school. Toyoshige resumed signing his work 'Toyoshige'.
The Namazu, also called the Onamazu, is a creature in Japanese mythology and folktales. The Namazu is a gigantic catfish said to cause earthquakes and tremors. Living in the mud under the Japanese isles, the Namazu is guarded by the protector god Kashima, who restrains the catfish using the <i>kaname-ishi</i> rock. Whenever Kashima lets his guard down, Namazu thrashes about and causes violent earthquakes.<br/><br/> The Namazu rose to new fame and popularity after the Ansei great earthquakes that happened near Edo in 1855. This led to the Namazu being worshipped as a god of world rectification (<i>yonaoshi daimyojin</i>), sent by the gods to correct some of the imbalances in the world.<br/><br/> Catfish woodblock prints known as <i>namazu-e</i> became their own popular genre within days of the earthquake. They were usually unsigned and often depicted scenes of a namazu or many namazu atoning for their deeds. They were quickly squashed by the Tokugawa Shogunate, the prints censored and destroyed, with only a handful surviving to this day.
Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints in 19th-century Japan. His reputation and financial success far exceeded those of his contemporaries.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo (now Tokyo), with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa school, who soon took him as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa school in 1825, where he would teach and design woodblock prints until his death in 1865, having produced the largest collection of woodblock prints of any designer in 19th-century Japan.
Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints in 19th-century Japan. His reputation and financial success far exceeded those of his contemporaries.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo (now Tokyo), with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa school, who soon took him as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa school in 1825, where he would teach and design woodblock prints until his death in 1865, having produced the largest collection of woodblock prints of any designer in 19th-century Japan.
Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints in 19th-century Japan. His reputation and financial success far exceeded those of his contemporaries.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo (now Tokyo), with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa school, who soon took him as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa school in 1825, where he would teach and design woodblock prints until his death in 1865, having produced the largest collection of woodblock prints of any designer in 19th-century Japan.
Utagawa Kunisada (1786 – January 12, 1865), also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/> Surprisingly, not many details of Kunisada's life are recorded, aside from a few well-established events. He was born in 1786 in Honjo, a district of Edo, with the given name Sumida Shogoro IX. His family owned a fairly successful ferry-boat service, and he soon developed an artistic talent as he grew up. So impressive were his early sketches that he caught the eye of Toyokuni, great master of the Utagawa School, who soon took him on as an apprentice.<br/><br/> His skills and renown quickly grew, and he became head of the Utagawa School in 1825, where he would teach and design woodblock prints until his death in 1865, having achieved the largest collection of woodblock prints of any designer in 19th-century Japan.
Japan: 'Actor Ichikawa Danjuro VIII (1823-1854) in a Loin-Cloth', woodblock print by Utagawa Kunisada (1786-1865), 1857. Ichikawa Danjūrō was a Japanese kabuki actor of the prestigious Ichikawa Danjūrō line.<br/><br/> Utagawa Kunisada, also as known as Utagawa Toyokuni III, was the most popular and prolific designer of Ukiyo-e woodblock prints during 19th-century Japan. His reputation and financial success far exceeded those of his fellow contemporaries.
The Tale of Genji (<i>Genji Monogatari</i>) is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early 11th century, around the peak of the Heian period.<br/><br/> It is sometimes called the world's first novel, the first modern novel, the first psychological novel or the first novel still to be considered a classic. Notably, the novel also illustrates a unique depiction of the livelihoods of high courtiers during the Heian period.
Utagawa Toyokuni (1769 - February 24, 1825), also often referred to as Toyokuni I, to distinguish him from the members of his school who took over his gō (art-name after he died) was a great master of ukiyo-e, known in particular for his Kabuki actor prints.<br/><br/> Utagawa was one of the heads of the renowned Utagawa school of Japanese woodblock artists, and was the person who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
Utagawa Toyokuni (1769 in Edo – 24 February 1825 in Edo), also often referred to as Toyokuni I to distinguish him from the members of his school who took over his <i>gō</i> (art-name) after he died, was a great master of <i>ukiyo-e</i>, known in particular for his kabuki actor prints.<br/><br/> He was the second head of the renowned Utagawa school of Japanese woodblock artists, and was the artist who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
Utagawa Toyokuni (1769 in Edo – 24 February 1825 in Edo), also often referred to as Toyokuni I to distinguish him from the members of his school who took over his gō (art-name) after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints.<br/><br/> He was the second head of the renowned Utagawa school of Japanese woodblock artists, and was the artist who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
Japan: 'Actor Onoe Kikujiro II as Fusahachi's Wife Onui'. From the series 'The Book of the Eight Dog Heroes' by Utagawa Kunisada II (1823-1880), 1852. Utagawa Kunisada II was a Japanese <i>ukiyo-e</i> printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/> Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Utagawa Toyokuni (1769 in Edo – 24 February 1825 in Edo), also often referred to as Toyokuni I to distinguish him from the members of his school who took over his gō (art-name) after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints.<br/><br/> He was the second head of the renowned Utagawa school of Japanese woodblock artists, and was the artist who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
Japan: 'Ichikawa Harima No. 7: Okaru Sawamura Shozo'. Woodblock print by Utagawa Kunisada I (1786-1865), 19th century. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Utagawa Toyokuni (1769 in Edo – 24 February 1825 in Edo), also often referred to as Toyokuni I to distinguish him from the members of his school who took over his gō (art-name) after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints.<br/><br/> He was the second head of the renowned Utagawa school of Japanese woodblock artists, and was the artist who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.
Utagawa Toyokuni (1769 - February 24, 1825), also often referred to as Toyokuni I, to distinguish him from the members of his school who took over his gō (art-name after he died) was a great master of ukiyo-e, known in particular for his Kabuki actor prints.<br/><br/> Utagawa was one of the heads of the renowned Utagawa school of Japanese woodblock artists, and was the person who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
Utagawa Toyokuni (1769 - February 24, 1825), also often referred to as Toyokuni I, to distinguish him from the members of his school who took over his gō (art-name after he died) was a great master of ukiyo-e, known in particular for his Kabuki actor prints.<br/><br/> Utagawa was one of the heads of the renowned Utagawa school of Japanese woodblock artists, and was the person who really moved it to the position of great fame and power it occupied for the rest of the nineteenth century.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.
Oiran (花魁) were the courtesans of Edo period Japan. The oiran were considered a type of yūjo (遊女) 'woman of pleasure' or prostitute. However, they were distinguished from the yūjo in that they were entertainers, and many became celebrities of their times outside the pleasure districts. Their art and fashions often set trends among the wealthy and, because of this, cultural aspects of oiran traditions continue to be preserved to this day.<br/><br/> The oiran arose in the Edo period (1600–1868). At this time, laws were passed restricting brothels to walled districts set some distance from the city center. In the major cities these were the Shimabara in Kyoto, the Shinmachi in Osaka, and the Yoshiwara in Edo (present-day Tokyo).<br/><br/> These rapidly grew into large, self-contained 'pleasure quarters' offering all manner of entertainments. Within, a courtesan’s birth rank held no distinction, which was fortunate considering many of the courtesans originated as the daughters of impoverished families who were sold into this lifestyle as indentured servants. Instead, they were categorized based on their beauty, character, education, and artistic ability.<br/><br/> Among the oiran, the tayū (太夫) was considered the highest rank of courtesan and were considered suitable for the daimyo or feudal lords. In the mid-1700s courtesan rankings began to disappear and courtesans of all classes were collectively known simply as 'oiran'.<br/><br/> The word oiran comes from the Japanese phrase oira no tokoro no nēsan (おいらの所の姉さ) which translates as 'my elder sister'. When written in Japanese, it consists of two kanji, 花 meaning 'flower', and 魁 meaning 'leader' or 'first', hence 'Leading Flower' or 'First Flower'.
Samurai is the term for the military nobility of pre-industrial Japan. By the end of the 12th century, samurai became almost entirely synonymous with bushi, and the word was closely associated with the middle and upper echelons of the warrior class.<br/><br/> The samurai followed a set of rules that came to be known as Bushidō. While they numbered less than ten percent of Japan's population, samurai teachings can still be found today in both everyday life and in martial arts such as Kendō, meaning the way of the sword.