ukiyo-e

Ukiyo-e (Japanese: 浮世絵) is a genre of Japanese art that flourished from the 17th through 19th centuries. 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 ukiyo-e (浮世絵) translates as 'picture[s] of the floating world'. In 1603, the city of Edo (Tokyo) became the seat of the ruling Tokugawa shogunate. The chōnin class (merchants, craftsmen and workers), positioned at the bottom of the social order, benefited the most from the city's rapid economic growth. They began to indulge in and patronize the entertainment of kabuki theatre, geisha, and courtesans of the pleasure districts. The term ukiyo ('floating world') came to describe this hedonistic lifestyle. Printed or painted ukiyo-e works were popular with the chōnin class, who had become wealthy enough to afford to decorate their homes with them. The earliest ukiyo-e works emerged in the 1670s, with Hishikawa Moronobu's paintings and monochromatic prints of beautiful women. Colour prints were introduced gradually, and at first were only used for special commissions. By the 1740s, artists such as Okumura Masanobu used multiple woodblocks to print areas of colour. In the 1760s, the success of Suzuki Harunobu's "brocade prints" led to full-colour production becoming standard, with ten or more blocks used to create each print.¶

The text above is adapted from the Wikipedia article “Ukiyo-e”, available under the Creative Commons Attribution-ShareAlike 4.0 licence.¶

ukiyo-e is Japanese art genre, fl. 17th–19th c., consisting of woodblock prints and paintings of such subjects as female beauties, kabuki actors, sumo wrestlers, scenes from history and folk tales, travel scenes, landscapes, flora, fauna, and erotica, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition.¹¶

The source record links this tradition to 28 external registers, which can be verified through the citation.¹¶