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Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Yamato Takeru (c. 72-113), originally known as Prince Osu, was a legendary and mythical figure in Japan. He was a prince of the Yamato Dynasty, son of 12th emperor of Japan, Emperor Keiko. The life and death of Yamato are primarily chronicled in the tales 'Kojiki' (712 CE) and 'Nihon Shoki' (720 CE).<br/><br/> For slaying his elder brother, Osu was sent to fight in Izumo Province by his father, who feared his brutal temperament. Instead of being killed however, Osu succeeded in defeating his enemies and was gifted the title 'Yamato Takeru' (The Brave of Yamato). His father was not convinced, still fearing him and wishing his death.<br/><br/> Next, Yamato was sent eastwards to deal with those who had disobeyed the imperial court, armed with the holy sword 'Kusanagi'. During a great storm, his wife sacrificed herself to appease the sea god, and in his anger he defeated many enemies. However, his blaspheming of a local god of Mount Ibuki led to him being cursed and dying. His soul turned into a great white bird and flew away, his tomb located in Ise Province, known as the Mausoleum of the White Plover.
Chang'e or Chang-o, originally known as Heng'e, is the Chinese goddess of the moon. There are many tales and legends about her in Chinese mythology and folk religion, usually involving her husband Houyi, the elixir of life and the moon, and representing the origin of the Mid-Autumn Moon Festival.<br/><br/> The general tale goes that in the distant past, ten suns had risen up into the sky to scorch the earth and cause great calamity for the people. The suns were, in some versions of the story, the children of the Jade Emperor, and so he sent the immortal archer Hou Yi to stop their mischief. Hou Yi instead shot down nine of them, leaivng only one in the sky, and therefore was punished by being made mortal and sent down to the earth, where he lived with his wife, Chang'e. In other versions of the tale, he was mortal at first, and freely given the elixir of immortality as a reward for his efforts.<br/><br/> Whatever version of the story, he ends up with the elixir of immortality in his care, but does not consume it right away, wishing to share it with Chang'e. However, while Hou Yi was away, his apprentice Fengmeng, broke into the house and attempted to forcefuly steal the elixir. Chang'e escaped his wrath by consuming the elixir herself, becoming immortal and flying up towards the heavens, eventually landing on the moon. Hou Yi became greatly saddened at what had occurred, and gave sacrifices of fruits and cakes to her memory, and thus the Mid-Autumn Moon Festival came to be, a celebration that still occurs on the full moon night of the eighth lunar month.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> Yukimori (1543-76), a samurai known for his great strength and loyalty, served the Amako warlord during a time in Japanese history referred to as 'Sengoku', or 'the country at war'. He wears a suit of armor called 'tosei gusoku' ('modern equipment') that was designed in the 16th century to be worn by a foot soldier.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892), also named Taiso Yoshitoshi was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
A <i>Kappa</i> ('river-child'), alternatively called <i>kawataro</i> ('river-boy'), is a <i>yokai</i> (supernatural monster) found in Japanese folklore. The name is a combination of the word <i>kawa</i> (river) and <i>wappa</i>, an inflection of <i>warabe</i> (child). In Shintō they are considered to be one of many <i>suijin</i> ('water deities').<br/><br/> A hairy kappa is called a Hyōsube.There are more than eighty other names associated with the kappa in different regions. Along with the oni and the tengu, the kappa is among the best-known yokai in Japan.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
In 717-718, Abe no Nakamoro was part of the Japanese mission to Tang China (Kentoshi) along with Kibi no Makibi and Genbo. They returned to Japan; he did not.<br/><br/> In China, he passed the civil-service examination. Around 725, he took an administrative position and was promoted in Luoyang in 728 and 731. Around 733 he received Tajihi Hironari, who would command the Japanese diplomatic mission. In 734 he tried to return to Japan but the ship to take him back sank not long into the journey, forcing him to remain in China for several more years. In 752, he tried again to return, with the mission to China led by Fujiwara no Kiyokawa, but the ship he was traveling in was wrecked and ran aground off the coast of Vietnam, but he managed to return to Chang'an in 755.<br/><br/> When the An Lushan Rebellion started later that year, it was unsafe to return to Japan and Nakamaro abandoned his hopes of returning to his homeland. He took several government offices and rose to the position of Governor-General of Annam between 761 and 767, residing in Hanoi. He then returned to Chang'an and was planning his return to Japan when he died in 770.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892), also named Taiso Yoshitoshi was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Kiyohime from 'One Hundred Ghost Stories of China and Japan'. This famous story, set in 928 CE, tells of unrequited love. It inspired a number of Kabuki and No plays and relates how Kiyohime’s love for the monk Anchin, who lived in the Dojo-ji temple on the banks of the Hidaka river, was repulsed due to his monk’s vows.<br/><br/> To escape her attentions he hid in the great temple bell which happened to be placed on the ground. Kiyohime, swimming across the flooded river, saw the bell and transformed herself into a dragon which beat the bell and destroyed it together with Anchin. Kiyohime is shown emerging from the river.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Emperor Jimmu was the first emperor of Japan, according to legend. His accession is traditionally dated as 660 BCE. He is a descendant of the sun goddess Amaterasu through her grandson Ninigi, as well as a descendant of the storm god Susanoo. He launched a military expedition from Hyuga near the Inland Sea, captured Yamato, and established this as his center of power.<br/><br/> Jimmu's reign notionally spanned the years 660-585 BCE.
Amaterasu (天照), Amaterasu-ōmikami (天照大神／天照大御神) or Ōhirume-no-muchi-no-kami (大日孁貴神) is a part of the Japanese myth cycle and also a major deity of the Shinto religion.<br/><br/> She is the goddess of the sun, but also of the universe. The name Amaterasu derived from Amateru meaning 'shining in heaven'. The meaning of her whole name, Amaterasu-ōmikami, is 'the great august kami (God) who shines in the heaven'.<br/><br/> The Emperor of Japan is said to be a direct descendant of Amaterasu.<br/><br/> Ama-no-Iwato (天岩戸) literally means 'The cave of the sun goddess' or 'heavenly rock cave'. In Japanese mythology, Susanoo, the Japanese god of the seas, was the one who drove Amaterasu into Ame-no-Iwato. This caused the sun to hide for a long period of time.<br/><br/> In order to get Amaterasu out of the cave the other gods threw a party outside. When she heard the noise she got curious and peeked but got blinded by the mirror Yata no Kagami and so she thought they were celebrating the arrival of an even greater and brighter goddess than herself, though in reality it was her own mirror image. Then Ame-no-tajikarao forced the cave to open up the rest and the world was bathed in light once again. As Amaterasu stepped out of the cave a holy seal was applied to it so that she couldn't go back into hiding.
Matsuo Basho (1644 – November 28, 1694), was the most famous poet of the Edo period in Japan. During his lifetime, Basho was recognized for his works in the collaborative haikai no renga form; today, after centuries of commentary, he is recognized as a master of brief and clear haiku. His poetry is internationally renowned, and within Japan many of his poems are reproduced on monuments and traditional sites.<br/><br/> Basho was introduced to poetry at a young age, and after integrating himself into the intellectual scene of Edo he quickly became well-known throughout Japan. He made a living as a teacher, but renounced the social, urban life of the literary circles and was inclined to wander throughout the country, heading west, east, and far into the northern wilderness to gain inspiration for his writing. His poems were influenced by his firsthand experience of the world around him, often encapsulating the feeling of a scene in a few simple elements.
From the series: Azuma no Nishiki Ukiyo Kodan (東錦浮世稿談), 'Tales from the Floating World on Eastern Brocade'.<br/><br/> Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
This triptych illustrates an episode from the life of the popular hero Yoshitsune (1159-89), who was also known as Ushiwaka-maru (young ox).<br/><br/> On one of his nightly outings from the temple, 12-year-old Yoshitsune encountered Benkei on the Gojo Bridge in Kyoto. Benkei, a wild giant of a man, had been told by a sword-smith that he could forge a magic sword from the tips and cutting edges of a thousand blades. He obtained the swords by attacking samurai warriors crossing the Gojo Bridge.<br/><br/> One night he saw the young Ushiwaka approaching; he was carrying what would be his one-thousandth sword. Benkei attacked him without delay, but the youth was too quick for him and managed to defeat him. Benkei was so impressed that he promised to serve and follow Ushiwaka.
Fujiwara no Hidesato (藤原 秀郷?) was a <i>kuge</i> (court bureaucrat) of tenth century Heian Japan. He is famous for his military exploits and courage, and is regarded as the common ancestor of the Ōshū branch of the Fujiwara clan, the Yūki, Oyama, and Shimokōbe families.<br/><br/> Hidesato served under Emperor Suzaku, and fought alongside Taira no Sadamori in 940 in suppressing the revolt of Taira no Masakado. His prayer for victory before this battle is commemorated in the Kachiya Festival. Hidesato was then appointed Chinjufu-shogun (Defender of the North) and Governor of Shimotsuke Province.<br/><br/> Emperor Suzaku (朱雀天皇 Suzaku-tennō, July 24, 922 – October 7, 952) was the 61st emperor of Japan, according to the traditional order of succession. Suzaku's reign spanned the years from 930 through 946.<br/><br/> Before his ascension of the Chrysanthemum Throne, his personal name was Hiroakira-shinnō. He was also known as Yutaakira-shinnō (寛明親王). Hiroakira-shinnō was the 11th son of Emperor Daigo and Empress Consort Onshi, a daughter of the regent and Great Minister of the Council of State, Fujiwara no Mototsune. Daigo had two Empresses or consorts and one Imperial daughter.
Seppuku (切腹, 'stomach-cutting') is a form of Japanese ritual suicide by disembowelment. Seppuku was originally reserved only for samurai. Part of the samurai bushido honour code, seppuku was either used voluntarily by samurai to die with honour rather than fall into the hands of their enemies (and likely suffer torture), or as a form of capital punishment for samurai who had committed serious offenses, or performed for other reasons that had brought shame to them.<br/><br/> The ceremonial disembowelment, which is usually part of a more elaborate ritual and performed in front of spectators, consists of plunging a short blade, traditionally a tantō, into the abdomen and moving the blade from left to right in a slicing motion
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
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'.
Irezumi (入れ墨, 入墨, 紋身, 刺花, 剳青, 黥 or 刺青) is a Japanese word that refers to the insertion of ink under the skin to leave a permanent, usually decorative mark; a form of tattooing.<br/><br/> The word can be written in several ways, each with slightly different connotations. The most common way of writing irezumi is with the Chinese characters 入れ墨 or 入墨, literally meaning to 'insert ink'. The characters 紋身 (also pronounced bunshin) suggest 'decorating the body'. 剳青 is more esoteric, being written with the characters for 'stay' or 'remain' and 'blue' or 'green', and probably refers to the appearance of the main shading ink under the skin. 黥 (meaning 'tattooing') is rarely used, and the characters 刺青 combine the meanings 'pierce', 'stab', or 'prick', and 'blue' or 'green', referring to the traditional Japanese method of tattooing by hand.
Fujiwara no Hidesato (藤原 秀郷?) was a <i>kuge</i> (court bureaucrat) of tenth century Heian Japan. He is famous for his military exploits and courage, and is regarded as the common ancestor of the Ōshū branch of the Fujiwara clan, the Yūki, Oyama, and Shimokōbe families.<br/><br/> Hidesato served under Emperor Suzaku, and fought alongside Taira no Sadamori in 940 in suppressing the revolt of Taira no Masakado. His prayer for victory before this battle is commemorated in the Kachiya Festival. Hidesato was then appointed Chinjufu-shogun (Defender of the North) and Governor of Shimotsuke Province.<br/><br/> Emperor Suzaku (朱雀天皇 Suzaku-tennō, July 24, 922 – October 7, 952) was the 61st emperor of Japan, according to the traditional order of succession. Suzaku's reign spanned the years from 930 through 946.<br/><br/> Before his ascension of the Chrysanthemum Throne, his personal name was Hiroakira-shinnō. He was also known as Yutaakira-shinnō (寛明親王). Hiroakira-shinnō was the 11th son of Emperor Daigo and Empress Consort Onshi, a daughter of the regent and Great Minister of the Council of State, Fujiwara no Mototsune. Daigo had two Empresses or consorts and one Imperial daughter.
Oda Nobunaga (June 23, 1534 – June 21, 1582) was the initiator of the unification of Japan under the rule of the shogun in the late 16th century, a rule that ended only with the opening of Japan to the Western world in 1868. He was also a major daimyo during the Sengoku period of Japanese history. His work was continued, completed and finalized by his successors Toyotomi Hideyoshi and Tokugawa Ieyasu. He was the second son of Oda Nobuhide, a deputy shugo (military governor) with land holdings in Owari Province.<br/><br/> Nobunaga lived a life of continuous military conquest, eventually conquering a third of Japanese daimyo before his death in 1582. His successor, Toyotomi Hideyoshi, a loyal Oda supporter, would eventually become the first man to conquer all of Japan and the first ruler of all Japan since the Ōnin War.
Emperor Jimmu was the first emperor of Japan, according to legend. His accession is traditionally dated as 660 BCE. He is a descendant of the sun goddess Amaterasu through her grandson Ninigi, as well as a descendant of the storm god Susanoo. He launched a military expedition from Hyuga near the Inland Sea, captured Yamato, and established this as his center of power.<br/><br/> Jimmu's reign notionally spanned the years 660-585 BCE.
Irezumi (入れ墨, 入墨, 紋身, 刺花, 剳青, 黥 or 刺青) is a Japanese word that refers to the insertion of ink under the skin to leave a permanent, usually decorative mark; a form of tattooing.<br/><br/> The word can be written in several ways, each with slightly different connotations. The most common way of writing irezumi is with the Chinese characters 入れ墨 or 入墨, literally meaning to 'insert ink'. The characters 紋身 (also pronounced bunshin) suggest 'decorating the body'. 剳青 is more esoteric, being written with the characters for 'stay' or 'remain' and 'blue' or 'green', and probably refers to the appearance of the main shading ink under the skin. 黥 (meaning 'tattooing') is rarely used, and the characters 刺青 combine the meanings 'pierce', 'stab', or 'prick', and 'blue' or 'green', referring to the traditional Japanese method of tattooing by hand.
Ohaguro (お歯黒) is a custom of dyeing one's teeth black. It was most popular in Japan until the Meiji era. Tooth painting was also known and practised in the southeastern parts of China and Southeast Asia. Dyeing was mainly done by married women, though occasionally men did it as well. It was also beneficial, as it prevented tooth decay, in a similar fashion to modern dental sealants.<br/><br/>Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Empress Jingu was consort to Emperor Chuai (notionally 192 – 200 CE), she also served as Regent from the time of her husband's death in 209 until her son Emperor Ōjin acceded to the throne in 269. No firm dates can be assigned to this historical figure's life or reign.<br/><br/> Jingū is regarded by historians as a 'legendary' figure because of the paucity of information about her. Legend has it that she led an army in an invasion of Korea and returned to Japan victorious after three years. However, this theory is widely rejected even in Japan as there is no evidence of Japanese rule in any part of Korea at this early period.<br/><br/> Here the Empress is fishing with her assistant, Takenouchi no Sukune, who always appears in depictions of Jingû. This scene takes place after the death of Jingû's husband, the emperor Chuai, who died as he planned to invade the Korean peninsula. Jingû and Sukune fish for offerings to the gods, and the trout she pulls out of the river in this print is a symbol of good luck, indicating to the empress that she should take over her husband's planned invasion.<br/><br/> Legend has it that while Jingû led the invasion, she was able to keep her unborn son contained within her womb for three years to protect him from the dangers of war; when the invasion ended, she finally gave birth to Emperor Ojin. Today, Jingû is venerated as the Shinto goddess of safe child delivery.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Prince Yamato Takeru (日本武尊 Yamato-takeru-no-mikoto), originally Prince Ōsu (小碓命 Ōsu-no-mikoto) was a Japanese legendary prince of the Yamato dynasty, son of Emperor Keiko, who is traditionally counted as the 12th Emperor of Japan.<br/><br/> The story of his life and death are told principally in the Japanese chronicles Kojiki (712) and Nihon Shoki (720), but also mentioned in Kogo shūi (807) and some chorographies like the Hitachi-no-kuni fudoki (常陸国風土記) (721). One of his sons later became Emperor Chūai, the 14th Emperor of Japan.<br/><br/> His historical existence is uncertain but based on the chronicles he was born in about 72 and died in 133.
Minamoto no Hiromasa (源 博雅, 918 – September 28, 980) was a nobleman and gagaku musician in the Heian period. He was the eldest son of Prince Katsuakira and the grandson of Emperor Daigo. His mother was the daughter of Fujiwara no Tokihira.<br/><br/> Emperor Daigo (醍醐天皇 Daigo-tennō, February 6, 884 – October 23, 930) was the 60th emperor of Japan, according to the traditional order of succession. Daigo's reign spanned the years from 897 through 930. He is named after his place of burial.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/>He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/>By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (月岡 芳年, 30 April 1839 – 9 June 1892, also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.
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.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.
Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) was a Japanese artist and Ukiyo-e woodblock print master.<br/><br/> He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.<br/><br/> By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.