Refine your search

The results of your search are listed below alongside the search terms you entered on the previous page. You can refine your search by amending any of the parameters in the form and resubmitting it.

Select all Deselect all Add selection to lightbox
Large Small
Thumbnails per page
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.
Geisha, geiko or geigi are traditional Japanese female entertainers who act as hostesses and whose skills include performing various arts such as classical music, dance, games and conversation, mainly to entertain male customers.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement.<br/><br/> Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century).<br/><br/> The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meisho), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachoga).
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu, was a prolific woodblock artist of Japan's Meiji period. His works capture the transition from the age of the samurai to Meiji modernity.<br/><br/> In 1875 (Meiji 8), he decided to try to make a living as an artist. He travelled to Tokyo. He found work as an artist for the Kaishin Shimbun. In addition, he produced <i>nishiki-e</i> artworks. In his younger days, he had studied the Kanō school of painting; but his interest was drawn to <i>ukiyo-e</i>.<br/><br/> Like many <i>ukiyo-e</i> artists, Chikanobu turned his attention towards a great variety of subjects. His work ranged from Japanese mythology to depictions of the battlefields of his lifetime to women's fashions. As well as a number of the other artists of this period, he too portrayed kabuki actors in character, and is well-known for his impressions of the <i>mie</i> (formal pose) of kabuki productions.<br/><br/> Chikanobu was known as a master of <i>bijinga</i>, images of beautiful women, and for illustrating changes in women's fashion, including both traditional and Western clothing. His work illustrated the changes in coiffures and make-up across time. For example, in Chikanobu's images in Mirror of Ages (1897), the hair styles of the Tenmei era, 1781-1789 are distinguished from those of the Keio era, 1865-1867.
A ,i>maiko</i> is an apprentice geiko (a type of geisha) in Kyoto, western Japan. Their jobs consist of performing songs, dances, and playing the shamisen (three-stringed Japanese instrument) for visitors during feasts.<br/><br/> Maiko are usually aged 15 to 20 years old and become Geiko after learning how to dance (a kind of Japanese traditional dance), play the shamisen, and learning <i>Kyō-kotoba</i> (dialect of Kyoto), regardless of their origins.
Geisha, geiko or geigi are traditional Japanese female entertainers who act as hostesses and whose skills include performing various arts such as classical music, dance, games and conversation, mainly to entertain male customers.
Maiko is a Japanese word for a dancing girl and means an apprentice geisha.
The Dutch trader or merchant depicted in this scene would most probably have been working with the Dutch East India Company (VOC), which had established a monopoly on trade with Japan provided the Europeans maintained their barracks and trading post off the mainland in Dejima.<br/><br/> Dejima, or Deshima (literally ‘Exit Island’), is a small artificial island built in the bay of Nagasaki in 1634 during the Edo period. Dejima was built to constrain foreign traders as part of ‘sakoku’, a self-imposed isolationist policy. Originally built to house Portuguese traders, it changed to a Chinese and Dutch trading post from 1641 until 1853 during which time the Dutch mostly bartered for Japanese gold, silver and copper with East Indies’ spices, Indian cloth and Chinese silk and porcelain. Dejima Dutch Trading Post has since been designated a Japanese national historic site.
The litter is a class of wheelless vehicles, a type of human-powered transport, for the transport of persons. Examples of litter vehicles include lectica (ancient Rome), jiao [轿] (China), kiệu (Vietnam), sedan chair (England), litera (Spain), palanquin (France and India), liteira (Portugal), wo (วอ, Chinese style known as kiao เกี้ยว) (Thailand), gama (Korea), kago and norimono (Japan) and tahtırevan (Turkey).<br/><br/> Smaller litters may take the form of open chairs or beds carried by two or more men, some being enclosed for protection from the elements. Larger litters, for example those of the Chinese emperors, may resemble small rooms upon a platform borne upon the shoulders of a dozen or more men. To most efficiently carry a litter, porters will attempt to transfer the load to their shoulders, either by placing the carrying poles upon their shoulders, or the use of a yoke to transfer the load from the carrying poles to the shoulder.
The shamisen or samisen (三味線, literally three strings), also called sangen (三絃), is a three-stringed, Japanese musical instrument played with a plectrum called a bachi.<br/><br/> The yokin in a kind of prototype koto (箏), a traditional Japanese stringed musical instrument, similar to the Chinese zheng, the Mongolian yatga, the Korean gayageum and the Vietnamese đàn tranh. The koto is the national instrument of Japan.<br/><br/> The kokin (古琴) is a Chinese seven-stringed zither called a guqin in Chinese.<br/><br/> Sankyoku is a form of Japanese chamber music played on the koto, shamisen, and shakuhachi, often with a vocal accompaniment.
Kitagawa Utamaro (ca. 1753 - October 31, 1806) was a Japanese printmaker and painter, who is considered one of the greatest artists of woodblock prints (ukiyo-e). He is known especially for his masterfully composed studies of women, known as bijinga. He also produced nature studies, particularly illustrated books of insects.
Utagawa Yoshiiku (歌川 芳幾, 1833 - February 6, 1904, also known as or Ochiai Yoshiiku 落合 芳幾), was a Japanese printmaker and newspaper illustrator. The son of a tea house proprietor, he was a student of Utagawa Kuniyoshi. Utagawa went to school with Tsukioka Yoshitoshi, recognized as the last great masters of Ukiyo (woodblock printing).<br/><br/> Eimei nijūhasshūku (英名 二十八 衆句 or ‘28 Famous Murders with Verse’)., also known as the 'Bloody Prints', is a collection of Japanese ukiyo-e from the 1860s, which depicted gruesome acts of murder or torture based on historical events or scenes in Kabuki plays. Although most of the works are solely violent by nature, it is perhaps the first known example of ero guro or the erotic grotesque in Japanese culture, an art sub-genre which depicts either erotic or extreme images of violence and mutilation.
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Orientalism is a term used by art historians, literary and cultural studies scholars for the imitation or depiction of aspects of Middle Eastern, and East Asian cultures (Eastern cultures) by American and European writers, designers and artists.<br/><br/> In particular, Orientalist painting, depicting more specifically 'the Middle East', was one of the many specialisms of 19th century Academic art. Since the publication of Edward Said's Orientalism, the term has arguably acquired a negative connotation.
The Japanese tea ceremony, also called the Way of Tea, is a Japanese cultural activity involving the ceremonial preparation and presentation of matcha, powdered green tea. In Japanese, it is called chanoyu (茶の湯) or chadō, sadō (茶道). The manner in which it is performed, or the art of its performance, is called otemae (お手前; お点前). Zen Buddhism was a primary influence in the development of the tea ceremony.<br/><br/> Tea gatherings are classified as chakai (茶会) or chaji (茶事). A chakai is a relatively simple course of hospitality that includes confections, thin tea (薄茶 usucha), and perhaps a light meal. A chaji is a much more formal gathering, usually including a full-course kaiseki meal followed by confections, thick tea (濃茶 koicha), and thin tea. A chaji can last up to four hours.
Goyō Hashiguchi (橋口 五葉 Hashiguchi Goyō, December 21, 1880 - February 24, 1921) was a Japanese painter and woodblock artist.<br/><br/> Hashiguchi was born Hashiguchi Kiyoshi in Kagoshima Prefecture. His father Hashiguchi Kanemizu was a samurai and amateur painter in the Shijo style. His father hired a teacher in the Kano style of painting in 1899 when Kiyoshi was only ten. Kiyoshi took the name of Goyo while attending the Tokyo School of Fine Arts, from which he graduated best in his class in 1905.
Maiko (まいこ, マイコ?) is a Japanese word for dancing girl and means an apprentice geisha.
Geisha, Geiko or Geigi are traditional, female Japanese entertainers whose skills include performing various Japanese arts such as classical music and dance.<br/><br/> Geisha, like all Japanese nouns, has no distinct singular or plural variants. The word consists of two kanji, 芸 (gei) meaning'art' and 者 (sha) meaning 'person' or 'practitioner'. The most literal translation of geisha into English would be'performing artist'
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
After the defeat of Imperial Japan in 1945, the Japanese authorities feared that US occupation forces might exploit Japanese women in the same way that the Japanese army had raped and brutalized women throughout East Asia during the war years. Accordingly, a ‘Recreation and Amusement Association’ was set up to ‘construct a dike to hold back the mad frenzy of the occupation troops and cultivate and preserve the purity of our race long into the future…’. By 1946 it was clear that the American forces were not about to go on raping sprees, and also that Japanese prostitutes, operating independently and often dressed as ‘geisha’ to appeal to the GIs, were doing brisk business. Faced with this reality, the Recreation and Amusement Association was shut down in 1946.
For most of the twentieth century, Asakusa was the major entertainment district in Tokyo. The Rokku or 'Sixth District' was famous as a theatre district, featuring famous cinemas such as the Denkikan. The area was heavily damaged by US bombing raids during World War II, particularly the March 1945 firebombing of Tokyo. The area was rebuilt after the war, but has now been surpassed by Shinjuku and other colorful areas in the city, in its role as a pleasure district.
Geisha, Geiko or Geigi are traditional, female Japanese entertainers whose skills include performing various Japanese arts such as classical music and dance.<br/><br/> The shamisen or samisen, literally 'three flavor strings'), also called sangen (literally 'three strings') is a three-stringed musical instrument played with a plectrum called a bach.
The Gion Temple (Gion Shrine) is now known as Yasaka Jinja.<br/><br/> Gion is a district of Kyoto, Japan, originally developed in the Middle Ages, in front of Yasaka Shrine. The district was built to accommodate the needs of travelers and visitors to the shrine. It eventually evolved to become one of the most exclusive and well-known geisha districts in all of Japan. The geisha in the Gion district do not refer to themselves as geisha; instead, Gion geisha use the local term geiko. While the term geisha means 'artist' or 'person of the arts', the more direct term geiko means essentially 'a child of the arts' or 'a woman of art'.<br/><br/> Despite the considerable decline in the number of geisha in Gion in the last one hundred years, it is still famous for the preservation of forms of traditional architecture and entertainment. Part of this district has been declared a national historical preservation district. Recently, the City of Kyoto completed a project to restore the streets of Gion, which included such plans as moving all overhead utilities underground as part of the ongoing effort to preserve the original beauty of Gion.<br/><br/> There is a popular misconception that Gion was a red-light district. It was a geisha district, and as geisha are entertainers, not prostitutes, Gion is not, and never was, a red-light district. Shimabara was Kyoto's red-light district.
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.
On 6 August and 9 August, 1945, the USA dropped two atomic bombs on Hiroshima and on Nagasaki respectively. More than 200,000 people died as a direct result of these two bombings, during which the Soviet Union entered the war against Japan.<br/><br/> Japan surrendered on 15 August, 1945 and a formal Instrument of Surrender was signed on 2 September, 1945, on the battleship USS Missouri in Tokyo Bay. The surrender was accepted by Gen Douglas MacArthur as Supreme Allied Commander, with representatives of each Allied nation, from a Japanese delegation led by Mamoru Shigemitsu. A separate surrender ceremony between Japan and China was held in Nanking on 9 September, 1945.<br/><br/> Following this period, MacArthur established bases in Japan to oversee the postwar development of the country. This period in Japanese history is known as the Occupation. US President Harry Truman officially proclaimed an end of hostilities on 31 December, 1946.<br/><br/> After a period of US occupation (1945–1952), Japan regained its independence. Japan was thereafter forbidden to have a standing army or wage war by Article 9 of its Constitution.
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.
<i>Nishiki-e</i> were a type of multi-coloured woodblock print from Japan. The technique was primarily used in <i>ukiyo-e</i>, and was invented in the 1760s. Before this woodblock prints were usually in black-and-white and were coloured either by hand or with the addition of one or two colour ink blocks, but <i>nishiki-e</i> printing changed that.<br/><br/><i>Nishiki-e</i> was credited to an engraver named Kinroku, but it was popularised and perfected by Suzuki Harunobu. <i>Nishiki-e</i> is sometimes also known as <i>Edo-e</i>, and became very popular during the Meiji Period, especially during the first Sino-Japanese War (1894-1895), where over 3,000 prints were made in that 9-month period.
Nagoya is the third-largest city and the fourth most populous urban area in Japan. Located on the Pacific coast in the Chūbu region of central Honshū, it is the capital of Aichi Prefecture and is one of Japan's major ports along with those of Tokyo, Osaka, Kobe, Yokohama, Chiba, and Moji. It is also the center of Japan's third largest metropolitan region, known as the Chūkyō Metropolitan Area. As of 2000, Chūkyō Metropolitan Area had 8.74 million people, of which 2.17 million lived in the city of Nagoya.
Nagoya is the third-largest city and the fourth most populous urban area in Japan. Located on the Pacific coast in the Chūbu region of central Honshū, it is the capital of Aichi Prefecture and is one of Japan's major ports along with those of Tokyo, Osaka, Kobe, Yokohama, Chiba, and Moji. It is also the center of Japan's third largest metropolitan region, known as the Chūkyō Metropolitan Area. As of 2000, Chūkyō Metropolitan Area had 8.74 million people, of which 2.17 million lived in the city of Nagoya.
The Dutch traders or merchants depicted in this scene would most probably have been working with the Dutch East India Company (VOC), which had established a monopoly on trade with Japan provided the Europeans maintained their barracks and trading post off the mainland in Dejima. The traders in this picture were presumably on a rare sojourn into Nagasaki where they encountered the charming local geisha ladies.<br/><br/> Dejima, or Deshima (literally ‘Exit Island’), is a small artificial island built in the bay of Nagasaki in 1634 during the Edo period. Dejima was built to constrain foreign traders as part of ‘sakoku’, a self-imposed isolationist policy. Originally built to house Portuguese traders, it changed to a Chinese and Dutch trading post from 1641 until 1853 during which time the Dutch mostly bartered for Japanese gold, silver and copper with East Indies’ spices, Indian cloth and Chinese silk and porcelain. Dejima Dutch Trading Post has since been designated a Japanese national historic site.
Geisha, Geiko or Geigi are traditional, female Japanese entertainers whose skills include performing various Japanese arts such as classical music and dance.<br/><br/> The most literal translation of geisha into English would be 'artist' or 'performing artist'. Another name for geisha used in Japan is geiko, which is usually used to refer to geisha from Western Japan, including Kyoto.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
Tsukioka Yoshitoshi (1839 – June 9, 1892), also named Taiso Yoshitoshi, was a Japanese artist. 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 feudal Japan, and the first years of modern Japan following the Meiji Restoration.<br/><br/> 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 outstanding aspects of traditional Japanese culture, among them traditional woodblock printing.