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Japan: 'Kanagawa Station: Actor Ichikawa Ebizo V as Ferryman Tonbei'. From the series 'Fifty-three Stations of the Tokaido Road' by Utagawa Kunisada I (1786-1865), 1852. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and financially successful designer of <i>ukiyo-e</i> woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. His favourite subjects were pleasure-houses and tea ceremonies.
Totoya Hokkei (1780-1850) was a 19th century Japanese artist of the <i>ukiyo-e</i> style. Born as Iwakubo Tatsuyuki in Edo, Hokkei started as a fishmonger before becoming an artist. He became Hokusai's first and eventually one of his most renowned students, developing a light and simple design influenced by his master.<br/><br/> He would experiment with various styles and genres, producing a large body of work in woodblock prints, book illustrations and paintings. He had various artist names, such as Aiogazono, Aiogaoka and Kyosai. He made at least eight hundred <i>surimono</i> prints, and over a hundred book illustrations.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as analternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
The Nectarine brothel in Yokohama was a famous house of prostitution also known as No.9 or Jimpuro. Until the Great Kanto Earthquake of 1923, Jimpuro was one of the top brothels of the city. It was originally opened in 1872 in Yokohama’s Takashima-cho.<br/><br/> In 1882, Jimpuro moved to the less visible area of Eiraku-cho. A branch specifically for foreigners was opened at the red-light district of Kanagawa’s Nanaken-machi. The brothel was called No. 9, because this was Jimpuro’s original address in Takashima-cho.
The Nectarine brothel in Yokohama was a famous house of prostitution also known as No.9 or Jimpuro. Until the Great Kanto Earthquake of 1923, Jimpuro was one of the top brothels of the city. It was originally opened in 1872 in Yokohama’s Takashima-cho.<br/><br/> In 1882, Jimpuro moved to the less visible area of Eiraku-cho. A branch specifically for foreigners was opened at the red-light district of Kanagawa’s Nanaken-machi. The brothel was called No. 9, because this was Jimpuro’s original address in Takashima-cho.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as analternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
The Nectarine brothel in Yokohama was a famous house of prostitution also known as No.9 or Jimpuro. Until the Great Kanto Earthquake of 1923, Jimpuro was one of the top brothels of the city. It was originally opened in 1872 in Yokohama’s Takashima-cho.<br/><br/> In 1882, Jimpuro moved to the less visible area of Eiraku-cho. A branch specifically for foreigners was opened at the red-light district of Kanagawa’s Nanaken-machi. The brothel was called No. 9, because this was Jimpuro’s original address in Takashima-cho.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as an alternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as analternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as analternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as an alternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as analternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
Kanagawa: View of a street along the top of a cliff overlooking Yedo Bay, and female touts trying to drag travellers into the resthouses.<br/><br/> This station was on a cliff overlooking a magnificent seascape of Edo Bay. One side of the highway was lined with two storied teahouses which commanded views of the beautiful bay. The land has been reclaimed from the bay seen in the picture and now forms a part of Yokohama City.<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).<br/><br/> The Tōkaidō (東海道 East Sea Road) was the most important of the Five Routes of the Edo period, connecting Edo (modern-day Tokyo) to Kyoto in Japan. Unlike the inland and less heavily travelled Nakasendō, the Tōkaidō travelled along the sea coast of eastern Honshū, hence the route's name.
The Perry Expedition was a U.S. naval and diplomatic expedition to Japan, involving two separate trips to and from Japan by ships of the United States Navy, which took place during 1853–54. The expedition was commanded by Commodore Matthew Calbraith Perry. It resulted in the opening of Japan to American and international trade, and the establishment of diplomatic relations between Japan and the western 'Great Powers'.<br/><br/> Matthew Calbraith Perry (1794–1858) was a senior-ranking officer in the navy of the United States of America, who was assigned the command of a U.S.N. expedition to the 'far east' in 1853. The goals of this expedition included exploration, surveying, and the establishment of diplomatic relations and negotiation of trade agreements with various nations of the region; opening contact with the government of Japan was considered a top priority of the expedition, and was one of the key reasons for its inception.<br/><br/> The Tokugawa shogunate had virtually isolated Japan from Western countries, and severely restricted contact with even near-neighbors such as China, since the early-mid 1600s; a policy known as Sakoku. It had resisted, sometimes by force, attempts by Americans and Europeans to establish business and diplomatic ties.<br/><br/> On July 8, 1853, Perry sailed into an officially hostile, but militarily unprepared, Japan with four warships. He led a U.S. mission which sought to begin diplomatic and trade relations, and to ensure the safety of Americans shipwrecked in Japan. Perry intimidated the Japanese by threatening to bombard their cities. He presented Japanese officials with a letter from U.S. President Millard Fillmore to the Emperor of Japan, proposing peace and friendship; at the time, the complex political relationship between the Emperor and the shogunate was not well understood by western governments.
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.
The Perry Expedition was a U.S. naval and diplomatic expedition to Japan, involving two separate trips to and from Japan by ships of the United States Navy, which took place during 1853–54. The expedition was commanded by Commodore Matthew Calbraith Perry. It resulted in the opening of Japan to American and international trade, and the establishment of diplomatic relations between Japan and the western 'Great Powers'.<br/><br/> Matthew Calbraith Perry (1794–1858) was a senior-ranking officer in the navy of the United States of America, who was assigned the command of a U.S.N. expedition to the "far east" in 1853. The goals of this expedition included exploration, surveying, and the establishment of diplomatic relations and negotiation of trade agreements with various nations of the region; opening contact with the government of Japan was considered a top priority of the expedition, and was one of the key reasons for its inception.<br/><br/> The Tokugawa shogunate had virtually isolated Japan from Western countries, and severely restricted contact with even near-neighbors such as China, since the early-mid 1600s; a policy known as Sakoku. It had resisted, sometimes by force, attempts by Americans and Europeans to establish business and diplomatic ties.<br/><br/> On July 8, 1853, Perry sailed into an officially hostile, but militarily unprepared, Japan with four warships. He led a U.S. mission which sought to begin diplomatic and trade relations, and to ensure the safety of Americans shipwrecked in Japan. Perry intimidated the Japanese by threatening to bombard their cities. He presented Japanese officials with a letter from U.S. President Millard Fillmore to the Emperor of Japan, proposing peace and friendship; at the time, the complex political relationship between the Emperor and the shogunate was not well understood by western governments.
Mount Fuji is the highest mountain in Japan at 3,776.24 m (12,389 ft). An active stratovolcano that last erupted in 1707–08, Mount Fuji lies about 100 km southwest of Tokyo. Mount Fuji's exceptionally symmetrical cone is a well-known symbol and icon of Japan and is frequently depicted in art and photographs. It is one of Japan's ‘Three Holy Mountains’ along with Mount Tate and Mount Haku.<br/><br/> Fuji is nowadays frequently visited by sightseers and climbers. It is thought that the first ascent was in 663 by an anonymous monk. The summit has been thought of as sacred since ancient times and was forbidden to women until the Meiji Era. Ancient samurai used the base of the mountain as a remote training area, near the present-day town of Gotemba.<br/><br/> Hokusai (1760-1849) was first and foremost a ‘ukiyo-e’ (floating world) painter of the Edo period. This painting is from his well-known series of woodblock prints titled, ‘36 Views of Mount Fuji’. In this illustration, Hokusai’s signature appears in the cartouche at the top-left of the picture.
Matthew Calbraith Perry (April 10, 1794 – March 4, 1858) was the Commodore of the U.S. Navy who compelled the opening of Japan to the West with the Convention of Kanagawa in 1854.
Matthew Calbraith Perry (April 10, 1794 – March 4, 1858) was the Commodore of the U.S. Navy who compelled the opening of Japan to the West with the Convention of Kanagawa in 1854.
Matthew Calbraith Perry (April 10, 1794 – March 4, 1858) was the Commodore of the U.S. Navy who compelled the opening of Japan to the West with the Convention of Kanagawa in 1854.
A Japanese print showing three men, believed to be Commander Anan, age 54; Perry, age 49; and Captain Henry Adams, age 59, who opened up Japan to the west. The text being read may be President Fillmore's letter to the Emperor of Japan.
Matthew Calbraith Perry (April 10, 1794 – March 4, 1858) was the Commodore of the U.S. Navy who compelled the opening of Japan to the West with the Convention of Kanagawa in 1854.
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).<br/><br/> The Tōkaidō (東海道 East Sea Road) was the most important of the Five Routes of the Edo period, connecting Edo (modern-day Tokyo) to Kyoto in Japan. Unlike the inland and less heavily travelled Nakasendō, the Tōkaidō travelled along the sea coast of eastern Honshū, hence the route's name.
The Perry Expedition was a U.S. naval and diplomatic expedition to Japan, involving two separate trips to and from Japan by ships of the United States Navy, which took place during 1853–54. The expedition was commanded by Commodore Matthew Calbraith Perry. It resulted in the opening of Japan to American and international trade, and the establishment of diplomatic relations between Japan and the western 'Great Powers'.<br/><br/> Matthew Calbraith Perry (1794–1858) was a senior-ranking officer in the navy of the United States of America, who was assigned the command of a U.S.N. expedition to the "far east" in 1853. The goals of this expedition included exploration, surveying, and the establishment of diplomatic relations and negotiation of trade agreements with various nations of the region; opening contact with the government of Japan was considered a top priority of the expedition, and was one of the key reasons for its inception.<br/><br/> The Tokugawa shogunate had virtually isolated Japan from Western countries, and severely restricted contact with even near-neighbors such as China, since the early-mid 1600s; a policy known as Sakoku. It had resisted, sometimes by force, attempts by Americans and Europeans to establish business and diplomatic ties.<br/><br/> On July 8, 1853, Perry sailed into an officially hostile, but militarily unprepared, Japan with four warships. He led a U.S. mission which sought to begin diplomatic and trade relations, and to ensure the safety of Americans shipwrecked in Japan. Perry intimidated the Japanese by threatening to bombard their cities. He presented Japanese officials with a letter from U.S. President Millard Fillmore to the Emperor of Japan, proposing peace and friendship; at the time, the complex political relationship between the Emperor and the shogunate was not well understood by western governments.
Matthew Calbraith Perry (April 10, 1794 – March 4, 1858) was the Commodore of the U.S. Navy who compelled the opening of Japan to the West with the Convention of Kanagawa in 1854.
Exposition poster art in Japan between approximately 1925 and 1941 mirrors the rapid militarisation of society and the growth of militarism, statism and fascism during the Showa Era.<br/><br/> In the 1920s expo poster art features elements of modern art and even Art Deco. Themes are whimsical and outward looking, representing Japan's growing importance and influence in the world of international commerce and art. By the 1930s this kind of poster art had grown much more bleak, less concerned with human themes and more directed towards statism and social control. Feminine imagery disappears to be replaced by wheels of industry, with distinct similarities to contemporary Nazi art in Fascist Germany.<br/><br/> From the outbreak of full scale hostilities with China through to Pearl Harbour and Japan's entry into World War II, ponderous, heavy machinery, marching soldiers, menacing guns and above all bomber aircraft combine to give the posters a crushing, inhuman, Orwellian aspect. This epitomises Japanese fascist art of the Showa Period.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as analternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
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.
Prostitution in Japan has existed throughout the country's history. The opening of Japan and the subsequent flood of Western influences into Japan brought about a series of changes in the Meiji period. Japanese novelists started to draw attention to the confinement and squalid existence of the lower-class prostitutes in the red-light districts.<br/><br/> 'Shashin Mitate Cho' (essentially, prostitute menus or catalogues) were introduced soon after photography became popular in the late 19th century, at least in more upmarket brothels, as analternative to the 'caged prostitute' displays of lower class brothels where women were displayed for the consideration of customers.
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.
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).<br/><br/> The Tōkaidō (東海道 East Sea Road) was the most important of the Five Routes of the Edo period, connecting Edo (modern-day Tokyo) to Kyoto in Japan. Unlike the inland and less heavily travelled Nakasendō, the Tōkaidō travelled along the sea coast of eastern Honshū, hence the route's name.