Japanese engraving

In the 1780s, the leading position was occupied by Kienaga. This he owes the publisher Nishimurai Ehati. The series “Fashion Models: Models New as Spring Foliage”, begun by Nishimurai back

This applies to engraving. Thus, the new concept of the landscape as an image of a specific locality is formed in Ukiyo-e under the direct influence of European works, primarily

The toponym is included in the title of the engraving: Latake is a common name of the area, which is opened in the engraving of Hiroshige. This far shore became

One of the main themes of the latter was landscapes in which Dutch artists, with more or less success, used new methods of constructing an image for them: the perspective

Color accents, not associated with the actual image, enhance the decorative sound of the sheets. This new quality, which developed in the work of Hiroshige only in the 1850s. Perceptions

In the life of the Japanese of this period, the “green neighborhoods” played a significant role, which was due to the special political situation in the country. Japan XVII-XIX centuries

The founder of Ukiye-e engraving is Hishikawa Moronobu, who was the first to create not only book illustrations, but also easel works. Engraving XVII – the first half of the

Okumura Masanobu chose for himself the theme of tender, feminine female actors-female performers. The fact that they are young men, only small purple caps indicate the shaven, as befits a

– an uncial phenomenon in the history of world art. The Japanese borrowed its technique from China. As early as the 13th century, small Buddhist icons and amulets were printed

Having paired compositions of two wrestling actors on a vertical sheet of paper, Torii Keenobu introduces into the composition such movement and passion as before did not know the engraving.

Unlike Hokusai, whose landscapes are of a philosophical reflection on nature and man, Hiroshige is primarily a lyricist. In his landscape sheets of the 1830s-1840s, the artist’s attitude to nature

Students and followers of Sünse continued to search creatively for the teacher, trying to approach the actor more and more, and more specifically to convey his appearance. Katsukawa Sjunko, for

In the 1830s and 1840s, lifeless compilative works appeared increasingly, in which purely formal expressiveness, a predilection for external effects, superseded the thin transmission of the mood of the model,

She informed the townspeople about certain aspects of the life of the capital, about fashion, more precisely about the fashionable fabrics for the women’s dress, about the stars of the

Landscapes of Hokusai have something in common with the classical painting of Japan, and with ukieh of the XVIII century, but at the same time are fundamentally different from them.