HISTORY
Development of Ukiyo-e prints in Japan and its influence on European design .
Ukiyo-e can be described as the print movement that took place in Edo, Tokyo and thusit has two periods(edo and meiji) the print term is translated as “the floating world” which describes the lifestyle of the classes in japan at that time.Before this period took place the initial origin of ukiyo_had connotations to a Buddhist term which signified “a world of sorrow and grief ”this sudden change of meaning had much to do with how classes movedfrom being struck by poverty and being able to afford and relate to art made in that period,this emphasises the development of not only art,but also economy and class distinction.Here on everything was rising and ukiyo_e was now associated with not poverty ,sadness but with the pleasures that people of all class distinctions could enjoy.This brought about a new found belief and spirit in japan,as the rising class was more accepting of their circumstances and made the best of them,this new found spirit was embraced and captured at the pleasureable kabuki theatre and yoshiwara quarters where actors and courtesans were the main characters eventually more symbols of this spirit of japan emerged and became the primary source of ukiyo-e’s development.
SUBJECT MATTER
Style, class ,creativity ,prosperity, peace thee aesthetics of a beautiful and ravish life among many were revived in art works .Ukiyo-e became a form of admiration of this lifestyle thus it somehow built a relationship between the artists and the consumers which were more often than none the subjects .In time emerged the ukiyo woodblock prints which were inspired by Buddhist literature from china ,but were initially created as a less expensive subs...
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...hind that taught himself how to draw with a reed pen.Unlike Degas who was influenced by the asymmetry and composition cropping of japan prints,Van Gogh was mostly influenced by the flowing brustrokes and the flat space of a painting.
Japanese art,culture and tradition influenced European artist from a wide variety of mixed media, not only in painting and printmaking but also in posters, graphic design, woodcut ,cutlery design the most influenced medium was lithography.These artists embraced Japanese art merely because it freed their minds to what was out there and what was possible.As seen here ukiyo-e developed beyond measures,from black and hite to colour,to artists going back and forth with their subject matter or merely the use of colour whether it be bold r subtle,ukiyo-e grew in quality and eventually in quantity where as it was only recognized in its”prime”
On Farting by Hiraga Gennai gives the reader a perspective into the world of various arts in the Edo Period. Not only are we shown what is meant to be a proper practicing of the arts through his satirical character, Crankshaw Stonington Esquire, but he counters this claim that the arts were then lacking in life, passion, and ingenuity. They had become boring and outdated without any creativity being brought forward. To prove this he sings his praises for a fart artist, and engages in a lively debate about what truly marks art as meaningful and how a change to the traditions would improve the civilization. However passionate, his argument may not be effective enough to change the minds and ways of those who revel in the traditional.
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
Japanese art comes in many styles, and I am focusing on a specific kind of artwork that was created during the Muromachi period, and is called Japanese wall scroll art. I will discus the political, and aesthetic motivations for the art as well as the styles the artists used.
As a conclusion, Mingei and nationalism can be perceived as fundamentally interwoven through Japanese handicrafts. Throughout the first half of the 20th century, many factors came to play a part in bringing the Japanese spirit to the forefront of craftsmen minds, whether as reason to bring attention to themselves and their own work or as a way of providing necessary utensils to the average Japanese home. The efforts of the Mingei movement and the Japanese Traditional Crafts Exhibition cannot be ignored. Yanagi can be said to have foreseen this radical decline in traditional styles and if not for his and his fellow founders collecting and preserving crafts in the Japanese Folk Art Museum, many of the regional methods and styles could be lost today. After the destruction of the war and
Yamato-e painting not only changed the way landscape painting were illustrated, but also influenced another genre of art called emakimono or emaki. Emakimono was influenced for the East Asian format for writing in which texts are written from right to left. The format of emaki are horizontal and opens from left to right, this provided a natural way to relate text and images . Emakimono are usually depicted in two style otoko-e (men’s picture) and onna-e (women’s pictures). Otoko-e stemmed from the monochrome paintings and paintings with light use of color. These otoko-e painting...
The ukiyo-e period was when a type of Japanese art was created which represented pictures of the flowing world. It was originally a Buddhist concept that meant the sadness of life. This print was influenced by the Dutch as Hokusai became interested with linear perspective when Western prints came by through Dutch trade. The artwork depicts a large wave which takes up about half of the print and then people in boats underneath the wave. The waves could be a metaphor for the government at the time as it ruled with an iron fist restricting any abroad travel as well as any visitors from other countries. The government was very controlling and limited any communication with the outside world during Hokusai’s time. The boats represent the civilians trying to explore the rest of the world but being stopped by the wave ‘government’ which is trying to get them to stay within the country or within ‘safety’. The boats have no control in the water and are practically helpless which represents the citizens if they were able to travel abroad as they would be defenceless and feeble because they wouldn’t have a proper understanding of the world and its
Niroshige ll, “Thirty-six views of Tokyo” is done in the style Ukiyo-e which during the Edo period was a way for artisans to mass produce their art work. Ukiyo-e is the technique of woodblock, Ukiyo-e has serval different themes. It consist of Bijin ( beautiful women of the pleasure quarter) Portraits of actors, Famous landscapes, and Asobi-e ( erotica ). The Nihonbasi “Thirty-six views of Tokyo” is done in the Landscape tradition, which is portrayed in the title of the print. Landscape prints normally feature a beautiful place in japan that the Chonin would want to visit, the artist Utagawa Hiroshige ll uses techniques to portray what the subject of the piece which is a harbor and shoreline that helps help portray a sense of depth and logging to the “Thirty-six views of Tokyo.”
Fujita Tsuguharu was a pivotal character in the promotion and innovation of Japan as a country. As a diverse and popular individual in Paris, he gained fame and wealth while he developed his painterly style in the 1920s. He sought to reinvent and the “European nude” to sate the hunger of both the narcissistic European cultures and to uplift the Japanese style of painting. This was to evolve Japan’s culture and help to attain a national identity. The Second World War, however, brought about a change that attributed to a diversion in Fujita’s style in paintings. A transformation into a dark, graphic, realism was the focus, yet there was always that lingering attempt to solidify Japan’s identity. It is certainly reflective of the sacrifice of one for the benefit of the whole.
“As graphic design, posters belong to the category of presentation and promotion, where image and word need to be economical, connected in a single meaning, and memorable.”(Hollis R,1998,p78) When it comes to the factors that lead to the rise of the pictorial poster in the nineteenth centuryits clearly to see that most of them occurred in Paris, France. A Frenchman Jules Cheret had created a new technique which revolutionized the look of the posters. As well as Jules Cheret and his success of lithography I will be exploring the Belle Epoque as well as the Ukiyo-e influence upon Henri upon Toulouse Lautrec as well as the impacts of the rising middle classand why France has played a large role in the artist development of the medium.
Ukiyo-e is the name given to one of the most important art forms in all of Japan. Arriving as a new form of art in the 1700's these prints served as a record of daily life and pleasures in a newly wealthy Japanese society. The Japanese themselves had long regarded pleasure as transient because of their Buddhist heratige, because of this the word Ukiyo-e actually means "pictures of the floating world". These prints were truly art which reflected the whims of the masses. They record popular styles of dress, new hairstyles etc. They also record the popular Kabuki theater actors, the most beautiful geisha's (or prostitutes), and later even landscapes. Within the realm of Ukiyo-e there are many masters, but there is one master, Kitagawa Utamaro, who sticks out as one of the most incredible figure artists in Japanese prints.
Notably, objects from different periods and geographical locations have a tendency of exhibiting variance in the use of calligraphy in different aspects of a community’s life. However, calligraphy in any cultural setup continues to be treated as a dominant element in decorations. In fact, for so many years artists have continued to explore the aesthetic and inherent poss...
Wells (1997) suggests that the history of Japanese art is not one of succession but of
compare to the art of the Greeks or Romans. Japanese Art yet simple is refreshing and
This report will first compare the different aesthetic traditions between Japanese and European, then discuss the reasons for the difference in religion, culture and geography aspects. The roof is huge and heavy in spite of the temples, palaces, and farmhouses in Japan. The indoor area is full of shadows under the big roofs and people cannot even distinguish the walls and pillars. Japanese enjoy seeing the golden sunshine outdoors when they stay in the area where they cannot be reached by light.
In Japan, the paintings and art concentrated on a love of nature, a sense of humor and asymmetry. Ink painting was popular and used the canvas as part of the picture. One student in Japan, Bunsei, painted a picture called Landscape. It is on a hanging scroll.