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Ukiyo-e

Japanese woodblock prints are frequently referred to as "Ukiyo-e", which literally means "pictures of the floating world". This art form came to life during the Edo-period (1603 -1868), more precisely around 1660. To understand Ukiyo-e it is important to have a look at the social-political circumstances of that time. After many years of unifying wars between feudal lords, Japan finally entered an era of peace with the new Tokugawa shogunate of the Edo period. In an effort to keep peace, the social class system of the Tokugawa shogunate gave land income to members of the samurai warrior class. In order to keep military control, the system also obliged the daimyo and samurai to live an expensive and bureaucratic lifestyle, which effectively reduced their military power. Ieyasu Tokugawa chose his headquarters at Edo, present Tokyo. Many artists, merchants and craftsmen moved to Edo and changed this village into a real city.The expensive lifestyle of the ruling warrior class made the merchant class rise in economic strength. In 1618, the Yoshiwara pleasure quarter with its many teahouses and Kabuki theatres was opened to the public. Merchants enjoyed a carefree lifestyle, which very soon resulted in a demand for urban folklore art. Kabuki actors, courtesans and folklore amusements became popular woodblock illustrations. Masters like Kanbun and Hishikawa Moronobu are to be considered as the first real Ukiyo-e artists. Around 1660, Moronobu introduced prints on single sheets without text. These prints gained a great popularity among the urban class : Ukiyo-e was born ! A book named "shinsen ohiinagata", published in 1667, depicted colored prints of kimono. About ten years later, Moronobu too published a book ("Edo suzume"). Torii Kiyonobu (Torii school) became very reputed for his actor prints (1693). Tan-e prints were introduced in the year 1700 while in 1704 the famous courtesan prints from the Kaigetsudo-masters appeared. 1722 : the government tries to control the printing market and therefore allows only certain publishers to edit books and prints; these prints had to mention name and address of the publisher. The hosoban size prints were probably introduced around 1725; it is assumed that this too was a governmental decision. The first uki-e prints (perspective views) were made by Okumura Masanobu. In 1744, a publisher named Emiya invented the "kento" (a positioning mark on the woodblocks), which made it possible to print with multiple woodblocks. This resulted in a new type of print : the benizuri-e, a print with a pinkish red (and green) color scheme. Nishiki-e or brocade prints became largely spread by Suzuki Harunobu in 1765 and are considered as the first truly polychromatic prints. 1777 is believed to be the year that the oban format was introduced. The "kiwame" censor seal was introduced during the Kansei reforms, more precisely in 1790. Especially close-up prints of actors and courtesans were very popular during this era. By the end of the 18th century, Ukiyo-e had explored most of the technical possibilities. 19th century artists therefore focused on color aspects. Prints with landscapes or nature scenes gained great success as well. The Meiji period brought modernization and western influences, which were rather negative for Ukiyo-e to survive. Work from Yamato Kanae in 1904 would bring new life to the art of woodblock printing (referred to as the Sosaku Hanga movement).

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