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'Review'. Oil on canvas painting by Shirataki Ikunosuke (1873-1960), 1903.<br/><br/> Shirataki Ikunosuke (17 March 1873 - 25 November 1960) was a Japanese yōga (Western-style) painter from Tajima Province. He was a member of the Hakuba-kai (White Horse Society) artists' association, and travelled across Europe and the USA from 1904 to 1910.
The <i>ukiyo-e</i> genre of art flourished in Japan from the 17th through to the 19th century. Its artists produced woodblock prints and paintings of such subjects as female beauties, kabuki actors and sumo wrestlers, scenes from history and folk tales, travel scenes and landscapes, flora and fauna, and erotica. The term <i>ukiyo-e</i> translates as 'pictures of the floating world'.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki (April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki (April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Japan / Italy: 'Around the Campidoglio, II'. Oil on canvas painting by Fujishima Takeji (1867-1943), 1919, Osaka City Museum of Modern Art, Osaka. Fujishima Takeji (October 15, 1867 - March 19, 1943) was a Japanese painter from an ex-samurai class household in southern Kyushu. He helped to develop impressionism and Romanticism within the Western-style ('yōga') art movement that became popular in Japanese painting during the late 19th and early 20th century. He would also be inspired by the Art Nouveau movement in his later years.
Japan / Italy: 'Around the Campidoglio'. Oil on canvas painting by Fujishima Takeji (1867-1943), 1919, Osaka City Museum of Modern Art, Osaka. Fujishima Takeji (October 15, 1867 - March 19, 1943) was a Japanese painter from an ex-samurai class household in southern Kyushu. He helped to develop impressionism and Romanticism within the Western-style ('yōga') art movement that became popular in Japanese painting during the late 19th and early 20th century. He would also be inspired by the Art Nouveau movement in his later years.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Sadanobu's small landscapes of Kyoto and Osaka were produced very much with the Edo artist Hiroshige's in mind. Indeed, he also did miniature copies of some of Hiroshige's most famous designs.<br/><br/> Almost all Sadanobu's landscape views of the Kansai region were published in Osaka.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Maiko is a Japanese word for a dancing girl and means an apprentice geisha.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Sadanobu's small landscapes of Kyoto and Osaka were produced very much with the Edo artist Hiroshige's in mind. Indeed, he also did miniature copies of some of Hiroshige's most famous designs.<br/><br/> Almost all Sadanobu's landscape views of the Kansai region were published in Osaka.
Utagawa Yoshitaki (April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Japan Air Transport Corporation (Nihon Koku Yuso Kabushiki Kaisha) was the national airline of the Empire of Japan from 1928 to 1938.
Sadanobu's small landscapes of Kyoto and Osaka were produced very much with the Edo artist Hiroshige's in mind. Indeed, he also did miniature copies of some of Hiroshige's most famous designs.<br/><br/> Almost all Sadanobu's landscape views of the Kansai region were published in Osaka.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Osaka's Hirota Jinja is one of three shrines which, according to the Nihon Shoki chronicle, were established by the Empress Jingu in the 3rd century.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
The Second Sino-Japanese War (July 7, 1937 – September 9, 1945) was a military conflict fought primarily between the Republic of China and the Empire of Japan. After the Japanese attack on Pearl Harbor, the war merged into the greater conflict of World War II as a major front of what is broadly known as the Pacific War.<br/><br/> Although the two countries had fought intermittently since 1931, total war started in earnest in 1937 and ended only with the surrender of Japan in 1945. The war was the result of a decades-long Japanese imperialist policy aiming to dominate China politically and militarily and to secure its vast raw material reserves and other economic resources, particularly food and labour. Before 1937, China and Japan fought in small, localized engagements.<br/><br/> Yet the two sides, for a variety of reasons, refrained from fighting a total war. In 1931, the Japanese invasion of Manchuria by Japan's Kwantung Army followed the Mukden Incident. The last of these incidents was the Marco Polo Bridge Incident of 1937, marking the beginning of total war between the two countries.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Akagi was an aircraft carrier built for the Imperial Japanese Navy (IJN), named after Mount Akagi in present-day Gunma Prefecture. Though she was laid down as an Amagi-class battlecruiser, Akagi was converted to an aircraft carrier while still under construction to comply with the terms of the Washington Naval Treaty. The ship was rebuilt from 1935 to 1938 with her original three flight decks consolidated into a single enlarged flight deck and an island superstructure.<br/><br/> Akagi's aircraft served in the Second Sino-Japanese War in the late 1930s. Upon the formation of the First Air Fleet or Kido Butai (Striking Force) in early 1941, she became its flagship, and remained so for the duration of her service. With other fleet carriers, she took part in the Attack on Pearl Harbor in December 1941 and the invasion of Rabaul in the Southwest Pacific in January 1942. The following month, her aircraft bombed Darwin, Australia, and assisted in the conquest of the Dutch East Indies. In March and April 1942, Akagi's aircraft helped sink a British heavy cruiser and an Australian destroyer in the Indian Ocean Raid.<br/><br/> After a brief refit, Akagi and three other fleet carriers of the Kido Butai participated in the Battle of Midway in June 1942. After bombarding American forces on the atoll, Akagi and the other carriers were attacked by aircraft from Midway and the carriers Enterprise, Hornet, and Yorktown. Dive bombers from Enterprise severely damaged Akagi. When it became obvious she could not be saved, she was scuttled by Japanese destroyers to prevent her from falling into enemy hands. The loss of Akagi and three other IJN carriers at Midway was a crucial strategic defeat for Japan and contributed significantly to the Allies' ultimate victory in the Pacific.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Allied forces conducted many air raids on Japan during World War II, causing extensive destruction to the country's cities and killing between 241,000 and 900,000 people. During the first years of the Pacific War, sparked by the Japanese attack on Pearl Harbor, these attacks were limited to the Doolittle Raid in April 1942 and small-scale raids on military positions in the Kuril Islands from mid-1943.<br/><br/> Strategic bombing raids began in June 1944 and continued until the end of the war in August 1945. Allied naval and land-based tactical air units also attacked Japan during 1945.
Utagawa Yoshitaki ( April 13, 1841 – June 28, 1899), also known as Ichiyosai Yoshitaki, was a designer of ukiyo-e style Japanese woodblock prints. He was active in both Edo (Tokyo) and Osaka and was also a painter and newspaper illustrator.<br/><br/> Yoshitaki was a student of Utagawa Yoshiume (1819–1879). He became the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors.
Obama (小浜市 Obama-shi) is a city in Fukui Prefecture, Japan. It faces Wakasa Bay due north of Kyoto, and is about four to seven hours by train from Tokyo.<br/><br/> As of October 1, 2005, the city has an estimated population of 32,185 and a population density of 138.22 persons per km². The total area is 232.85 km².
Osaka (大阪 Ōsaka) is a designated city in the Kansai region of Japan. It is the capital city of Osaka Prefecture and the largest component of the Keihanshin Metropolitan Area, the second largest metropolitan area in Japan and among the largest in the world with nearly 19 million inhabitants.<br/><br/> Situated at the mouth of the Yodo River on Osaka Bay, Osaka is Japan's third largest city by population after the Tokyo 23 wards and Yokohama, and serves as a major economic hub.<br/><br/> Historically a merchant city, Osaka has also been known as the 'nation's kitchen' (天下の台所 tenka no daidokoro) and served as a centre for the rice trade during the Edo period.
Yodo-dono (1569 – 1615) was a prominently-placed figure in late-Sengoku period. She was a concubine and second wife of Toyotomi Hideyoshi, who was then the most powerful man in Japan. She also became the mother of his son and successor, Hideyori.<br/><br/> 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. 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.
The Siege of Osaka was a series of battles undertaken by the Tokugawa shogunate against the Toyotomi clan, ending in that clan's destruction. Divided into two stages (Winter Campaign and Summer Campaign), and lasting from 1614 to 1615, the siege put an end to the last major armed opposition to the shogunate's establishment. The end of the conflict is sometimes called the Genna Armistice (Genna Enbu), because the era name was changed from Keichō to Genna immediately following the siege.
The Siege of Osaka was a series of battles undertaken by the Tokugawa shogunate against the Toyotomi clan, ending in that clan's destruction. Divided into two stages (Winter Campaign and Summer Campaign), and lasting from 1614 to 1615, the siege put an end to the last major armed opposition to the shogunate's establishment. The end of the conflict is sometimes called the Genna Armistice (Genna Enbu), because the era name was changed from Keichō to Genna immediately following the siege.
Osaka Mercantile Steamship poster featuring a kimono-clad young woman and the company flag.
Korean Mail Steamship Co., 1918
Osaka Mercantile Steamship poster featuring an old sailing ship and the company flag.
Osaka Mercantile Steamship Co poster featuring a large bird (maybe a sea bird, but with a head that looks more like a cockerel) carrying the company flag.
Osaka Mercantile Steamship poster featuring a young woman in kimono and girl child.
Osaka Mercantile Steamship Co., poster featuring an attractive, kimono-clad woman with a pair of binoculars. Tradition meets modernity.
Osaka Mercantile Steamship poster featuring a beautiful Japanese woman elaborately clad in traditional kimono (1909).
The Osaka Mercantile Steamship Company, in the form of a gigantic sumo wrestler, bestrides the trade routes of the world in this 1916 advertising poster.
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.
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.
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.
The son of a physician in Nagoya, Oishi Matora studied with Chô Gesshô and Watanabe Shûkei; he worked also in Edo and Osaka; practiced his own brand of Tosa-style drawing and painting. He died fairly young, possibly the result of alcoholism, and was said to have had episodes of insanity; he is considered masterful at depicting historical and contemporary history and costume of both the upper and lower classes.<br/><br/>His 'Soga kokufu’ is judged to be among his more impressive book productions, with its large size, excellent paper, and exquisite 2-color overprinting known in very fine impressions. It might have been targeted for distribution among samurai patrons as its subjects were the activities of the court and shrines.<br/><br/>The ‘Soga hyakubutsu’ was smaller in size and probably intended for a wider audience, perhaps even ukiyo-e style patrons, as it generally depicts daily activities of the lower classes. It shows a freer sketching style than the previous work
Toyotomi Hideyori ( September 8, 1593 – June 5, 1615) was the son and designated successor of Toyotomi Hideyoshi, the general who first united all of Japan. His mother, Yodo-dono, was the niece of Oda Nobunaga.<br/><br/> When Hideyoshi died in 1598, the regents he had appointed to rule in Hideyori's place began jockeying amongst themselves for power. Tokugawa Ieyasu seized control in 1600, after his victory over the others at the Battle of Sekigahara. Tokugawa forces attacked Hideyori in the Siege of Osaka in the winter of 1614. The attack failed, but Hideyori was induced to sign a truce and dismantle the defenses of his stronghold Osaka Castle.<br/><br/> In April 1615, Ieyasu received word that Toyotomi Hideyori was gathering even more troops than in the previous November, and that he was trying to stop the filling of the moat of Osaka Castle. Toyotomi forces (often called the Western Army) began to attack contingents of the Shogun's forces (the Eastern Army) near Osaka. On June 5, 1615, as Toyotomi's forces began to lose the battle, a smaller force led directly by Hideyori sallied forth from Osaka Castle too late, and was chased back into the castle by the advancing enemies. There was no time to set up a proper defense of the castle, and it was soon set ablaze and pummeled by artillery fire. Hideyori and his mother committed seppuku, and the final major uprising against Tokugawa rule for another 250 or so years was put to an end.
Toyotomi Hideyoshi (1536-1598), Imperial Regent, 1585-1591; Chancellor of the Realm. 1587-1598.<br/><br/> Toyotomi Hideyoshi (February 2, 1536 or March 26, 1537 – September 18, 1598) was a daimyo in the Sengoku period who unified the political factions of Japan. He succeeded his former liege lord, Oda Nobunaga, and brought an end to the Sengoku period. The period of his rule is often called the Momoyama period, named after Hideyoshi's castle. He is noted for a number of cultural legacies, including the restriction that only members of the samurai class could bear arms. Hideyoshi is regarded as Japan's second 'great unifier'.