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Shin Yun-bok, better known by his pen name Hyewon, (born 1758) was a Korean painter of the Joseon Dynasty. Like his contemporaries Danwon and Geungjae, he is known for his realistic depictions of daily life in his time. His genre paintings are distinctly more erotic than Danwon's, a fact which contributed to his expulsion from the royal painting institute, Dohwaseo.<br/><br/> Painting was frequently a hereditary occupation in the Joseon period, and Hyewon's father and grandfather had both been court painters. Together with Danwon and the later painter Owon, Hyewon is remembered today as one of the ‘Three Wons’ of Joseon-period painting. Shin Yun-bok, despite being greatly influenced and overshadowed by Kim Hong-do during his career, developed his own unique technique and artistry. Whereas Kim depicted everyday life of peasants with a humorous touch, Shin showed glimpses of eroticism in his paintings of townspeople and gisaeng (courtesan).<br/><br/> His choice of characters, composition, and painting method differed from Kim's, with use of bright colors and delicate paint strokes. He also painted scenes of shamanism and townlife, offering insight to lifestyle and costumes of the late Joseon era.
Shin Yun-bok, better known by his pen name Hyewon, (born 1758) was a Korean painter of the Joseon Dynasty. Like his contemporaries Danwon and Geungjae, he is known for his realistic depictions of daily life in his time. His genre paintings are distinctly more erotic than Danwon's, a fact which contributed to his expulsion from the royal painting institute, Dohwaseo.<br/><br/> Painting was frequently a hereditary occupation in the Joseon period, and Hyewon's father and grandfather had both been court painters. Together with Danwon and the later painter Owon, Hyewon is remembered today as one of the ‘Three Wons’ of Joseon-period painting. Shin Yun-bok, despite being greatly influenced and overshadowed by Kim Hong-do during his career, developed his own unique technique and artistry. Whereas Kim depicted everyday life of peasants with a humorous touch, Shin showed glimpses of eroticism in his paintings of townspeople and gisaeng. His choice of characters, composition, and painting method differed from Kim's, with use of bright colors and delicate paint strokes. He also painted scenes of shamanism and townlife, offering insight into the lifestyles and costumes of the late Joseon era.
Katsukawa Shunchō (勝川 春湖) was a Japanese designer of ukiyo-e style Japanese woodblock prints, who was active from about 1783 to about 1795.<br/><br/>Although a student of Katsukawa Shunshō, Shunchō's output, which consists mostly of prints of beautiful women, more closely resembles the work of Torii Kiyonaga.<br/><br/>Shunchō also designed many shunga prints, which also resemble those of Torii Kiyonaga.
Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
Eisen Tomioka was born in Nagano prefecture with the given name of Hidetaro. He went to Tokyo with the intention of becoming a full-time artist. But first he took a post as a civilian employee with the Japanese army to make a living.<br/><br/>Later he resigned from this post to study art with Kobayashi Eitaku. He worked as an illustrator. During the late Meiji period publishers of newspapers, journals and book used to sell their products with supplements of woodblock prints. These prints are called kuchi-e and were created using the traditional Japanese woodblock printmaking techniques.<br/><br/>Eisen Tomioka died at a young age of 41 years, when he was about to fulfill his great dream: becoming what he considered to be a 'real' artist - a recognised painter.
Katsukawa Shunchō (勝川 春湖) was a Japanese designer of ukiyo-e style Japanese woodblock prints, who was active from about 1783 to about 1795.<br/><br/>Although a student of Katsukawa Shunshō, Shunchō's output, which consists mostly of prints of beautiful women, more closely resembles the work of Torii Kiyonaga.<br/><br/>Shunchō also designed many shunga prints, which also resemble those of Torii Kiyonaga.
UNESCO has proclaimed seven sites in the Kathmandu Valley World Heritage Sites— Kathmandu Durbar Square, Pashupatinath Temple, Bodhnath, Svayambhunath, Patan Durbar Square, Bhaktapur Durbar Square and the Changu Narayan Temple.<br/><br/> Historically, the valley and adjoining areas made up a confederation known as Nepal Mandala. Until the 15th century, Bhaktapur was its capital when two other capitals, Kathmandu and Lalitpur, were established. After the annexation of the valley by the Gorkha Kingdom, and subsequent establishment of the valley as the capital of their empire, the designation of 'Nepal' was extended to every land they conquered.