Relevant bibliographies by topics / Ukiyo-e

Academic literature on the topic 'Ukiyo-e'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Ukiyo-e"

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Brown, Innes, and Ognjen Arandjelović. "Making Japenese Ukiyo-e Art 3D in Real-Time." Sci 2, no. 1 (February 28, 2020): 6. http://dx.doi.org/10.3390/sci2010006.

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Ukiyo-e is a traditional Japanese painting style most commonly printed using wood blocks. Ukiyo-e prints feature distinct line work, bright colours, and a non-perspective projection. Most previous research on ukiyo-e styled computer graphics has been focused on creation of 2D images. In this paper we propose a framework for rendering interactive 3D scenes with ukiyo-e style. The rendering techniques use standard 3D models as input and require minimal additional information to automatically render scenes in a ukiyo-e style. The described techniques are evaluated based on their ability to emulate ukiyo-e prints, performance, and temporal coherence.
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Brown, Innes, and Ognjen Arandjelović. "Making Japenese Ukiyo-e Art 3D in Real-Time." Sci 2, no. 2 (May 11, 2020): 32. http://dx.doi.org/10.3390/sci2020032.

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Ukiyo-e is a traditional Japanese painting style most commonly printed using wood blocks. Ukiyo-e prints feature distinct line work, bright colours, and a non-perspective projection. Most previous research on ukiyo-e styled computer graphics has been focused on creation of 2D images. In this paper we propose a framework for rendering interactive 3D scenes with ukiyo-e style. The rendering techniques use standard 3D models as input and require minimal additional information to automatically render scenes in a ukiyo-e style. The described techniques are evaluated based on their ability to emulate ukiyo-e prints, performance, and temporal coherence.
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Patria, Asidigisianti Surya. "UKIYO-E SENI POPULAR ( POP ARTIS) ZAMAN EDO." Jurnal Dimensi Seni Rupa dan Desain 9, no. 2 (September 1, 2012): 163–76. http://dx.doi.org/10.25105/dim.v9i2.940.

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AbstractThe root of Ukiyo-e can be traced back when urbanization became trend in Japan in 16 century leading the developing of merchans and actors started to write stories and novels, then combinedwith picture painting, called ehon. Ehon is picture book with full illustration and story. Ukiyo-e also used as Kabuki show poster. The source of inspiration was real life and urban culture in that time. In the beginning Ukiyo-e was only art expression but then became industry which related with literature. In the end Ukiyo-e shifted into literature visualization. Abtrrak Akar seni Ukiyo-e dapat dilacak ketika urbanisasi melanda pada abad 16 yang menuntun perkembangan kelas pedagang dan pelakon yang memulai menulis cerita-cerita atau novel-novel serta lukisan gambar digabungkan dengna ehon, yaitu buku bergambar dengan cerita dan ilustrasi. Juga digunakan sebagai poster pertunjukan Kabuki. Sumber inspirasi gambar Ukiyo-e merupakan benar-benar kenyataan kehidupan dan budaya urban masyarakat Jepang pada masa itu. Pada awalnya Seni Ukyo-e merupakan ekspresi seni rupa belaka kemudian berkembang menjadi industri yang juga mengandung seni sastra. Seni Ukiyo-e bergeser menjadi visualisasi seni sastra
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Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.

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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.
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Shi, Yanqiu, and Hao Zhou. "The Influence of Ukiyo-e on Modern Illustration." Highlights in Art and Design 3, no. 1 (May 31, 2023): 12–14. http://dx.doi.org/10.54097/hiaad.v3i1.9159.

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Ukiyo-e is an art form that was developed during the Edo period in Japan, depicting mainly the culture of the Japanese marketplace, as well as places of entertainment and landscape scenery. Ukiyo-e had a great impact on European painting and influenced the creation of a large number of people, including the Impressionists, and gave European art a new look. Ukiyo-e's lines, composition, colors, and choice of materials not only profoundly influenced Western art, but also the creation of modern illustration, and traces of Ukiyo-e can be seen everywhere in modern illustration works.
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Abdullah, Farid. "MENCUKIL SEJARAH DAN ESTETIKA UKIYO-E." Jurnal Dimensi Seni Rupa dan Desain 9, no. 1 (February 1, 2012): 25–34. http://dx.doi.org/10.25105/dim.v9i1.954.

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AbstractHistory and aesthetic of Ukiyo-e was a portrait of East culture, an effect of increased trade and communication between Asian and European countries during the late 19 century, caused a cultural collision; both East and West exprerienced change as a result of reciprocal influences. asian art provided European and North american artists and designers with new approaches to space, color, drawing conventions, and subject matter that were radically not similar witrh Western tradition . Ukiyo-e defines an art movement of Japan's Takogawa period ( 1603-1867) . Revitalized graphic design during the last decade of the nineteeth century. AbstrakSejarah dan estetika seni Ukioyo-e adalah kepingan dari budaya Timur, dampk dari meningkatnya perdangan dan komunikasi anatara negeri-negeri Asia dan Eropa selama abad 19 Masehi. di mana hal ini menyebabkan benturan budaya . Baik pengalaman Barat dan Timur sebagai bentuk sebab akibat yang saling mempengaruhi. Seni rupa Asia kemudian disediakan oleh seniman dan desainer dari Eropa dan Amerika dengan pendekatan baru terhadap ruang warna, penedekatan dalam menggambar dan tema gambar, di mana secara dramatis tidak memiliki kesamaan dengan tradisi Barat. Seni UKiyo-e menjelaskan tentang satu gerakan pada periode Togugawa Jepan ( 1603-1867). Seni Ukiyo-e telah berhasil menghidupkan desain grafius selama dekade terakhir dari abad ke 19
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Lillehoj, Elizabeth, and Timothy Clark. "Ukiyo-e Paintings in the British Museum." Asian Folklore Studies 54, no. 1 (1995): 143. http://dx.doi.org/10.2307/1178231.

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Jenkins, Donald, and Timothy Clark. "Ukiyo-e Paintings in the British Museum." Monumenta Nipponica 48, no. 2 (1993): 289. http://dx.doi.org/10.2307/2385543.

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de Sabato Swinton, Elizabeth, and Timothy Clark. "Ukiyo-e Paintings in the British Museum." Journal of Japanese Studies 20, no. 2 (1994): 522. http://dx.doi.org/10.2307/133210.

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Kozbelt, Aaron, and Yana Durmysheva. "Lifespan Creativity in a Non-Western Artistic Tradition: A Study of Japanese Ukiyo-E Printmakers." International Journal of Aging and Human Development 65, no. 1 (July 2007): 23–51. http://dx.doi.org/10.2190/166n-6470-1325-t341.

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Western cultures' conceptions about creativity emphasize originality and final products; Eastern cultures, skill and process. Does this cultural difference impact how creativity unfolds over the lifespan? To examine this, we investigated Japanese “ukiyo-e” printmaking (c. 1670–1865). Almost 2,000 illustrations of datable prints by 44 artists were found in 36 art books. Career landmarks (earliest, most frequent, and latest illustrated print) and eminence ratings were estimated for each artist. Results are largely consistent with prior research on Western samples: artists' career peaks vary greatly, averaging around age 40, and the most prolific artists usually (but not always) created the most popular prints. However, ukiyo-e artists show a more positive relation between career peak and eminence than Western artists, peak slightly later than their French (but not American) counterparts, and older artists created the most famous prints, compared to the West. Trans-historically, early-peaking ukiyo-e artists are concentrated between 1780 and 1800.
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Dissertations / Theses on the topic "Ukiyo-e"

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Lummis, Geraldine Erika. "Ukiyo-e and the Canterbury Museum." Thesis, University of Canterbury. School of Humanities, 2011. http://hdl.handle.net/10092/5808.

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The text investigates the history of the Canterbury Museum’s collection of Japanese ukiyo-e prints and paintings focusing mainly on four major contributors: Sir Joseph Kinsey (1852-1936), Frances May Bailey (c.1891-1967), Greggory Kane (1921-1978) and Ronald J Scarlett (1911-2002). The images are set in the context of the ‘floating world’ (ukiyo). The introduction examines the early directors of the Museum and how their interests and policies influenced the collections. The method of grading the prints and the process by which the data base was formed are explained. Chapter One examines the way New Zealand was influenced by a growing interest in Japan during the early twentieth century, the effects of Japanese activity in the Pacific and the way the collectors responded. It also looks at the local cultural context in which the collectors acquired and exhibited their works. Exhibitions of Japanese and Chinese art occurred in 1935 and 1952 in Christchurch; such events widened the knowledge and aesthetic appreciation of Asian art. Chapter Two considers the subjects, scope, and range of ukiyo-e art and the artists represented in the Museum’s collection. It looks at the condition of the images, how they were made, the formats used, and whether they were printed from original or recut blocks. Japanese Government censorship and works of particular interest are discussed. Comparisons are made with the Dunedin Public Art Gallery’s and Auckland Art Gallery’s collections. Works by major artists including Hiroshige (1797-1858), Hokusai (1760-1849), Eizan (1787-1867), Eishi (1756-1829), Chikanobu (1838-1912), Toyokuni I (1769-1825), Kunisada (1786-1864) and Kuniyoshi (1798-1861) are evaluated. By reconstructing the collections of Japanese art in the Museum, the chapter reveals the collectors’ diverse interests and individual preferences. The research presented in this discussion stems from an extensive study of the 427 images in the collection and is supported by an illustrated database of all the Museum’s ukiyo-e works.
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Dicken, Mary. "George Rochberg’s Ukiyo-e (Pictures of the Floating World)." Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1146856287.

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Hockley, Allen F. "Harunobu : an Ukiyo-e artist who experimented with Western- style art." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28070.

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From the beginning of serious art historical study of Japanese woodblock prints or Ukiyo-e, the artist Suzuki Harunobu (1725-1770) has been accorded a prominent position in the development of that art form primarily because of his role in the creation of the first full colour prints. This, and his particular conception of feminine beauty which he chose to illustrate most often as the main subject of his art, made him the dominant artist of his generation. The popularity he achieved during his lifetime was monumental, but he met with a premature and untimely death. Shortly after his death Shiba Kōkan (1747-1818), a young artist just beginning his career, made forgeries of Harunobu's prints and later admitted to doing so in his autobiography. Based on Kōkan's confession, there developed among art historians and connoisseurs, a long running, at times heated and, as yet, unresolved debate focussed upon determining which of Harunobu's prints are in fact forgeries. Because Kōkan eventually acquired fame as an artist who experimented with styles and techniques newly imported to Japan from Europe, Harunobu's prints that contain linear perspective, one such Western technique, have traditionally and without question been designated as forgeries. To this author, making such an attribution based on this criterion seems somewhat illogical. Why would Kōkan introduce something foreign to Harunobu's style into prints he intended to pass off as Harunobu's originals? The simplest resolution to this quandary is to assume that Harunobu must have also been experimenting with imported European styles. Based on this premise, this thesis introduces literary and visual evidence linking Harunobu to a number of sources of European-style art. Much of this evidence was uncovered through a re-examination of Harunobu's prints and literary accounts of his life in accordance with the social and artistic context in which he worked. The prints and the documents which this thesis discusses have long been known to art historians. They simply needed to be reworked to support this premise. This thesis does, however, introduce one print from the collection of the Oregon Art Institute which seems to have been overlooked by other scholars. It provides a clear example of Harunobu's Western-style art and through visual analysis of it, its sources can be identified among the Western-style megane-e of Maruyama ōkyo ( 1733-1795). The concluding section of this thesis examines the consequences of this evidence. Two of the so-called forgeries are reattributed to Harunobu and his prints as a whole are recast within the tradition of Western-style art in Japan.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Knox, Christa A. "Ukiyo-e, Madame Chrysanthéme and Babel: The Persistent Stereotype of Japanese Women 1885-2007." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212158465.

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Knox, Christa. "Ukiyo-e, Madame Chrysanthéme and Babel the persistent stereotype of Japanese women 1885-2007 /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212158465.

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Thesis (M.A.)--University of Cincinnati, 2008.
Advisor: Mikiko Hirayama. Title from electronic thesis title page (viewed Feb. 19, 2010). Includes abstract. Keywords: ukiyo-e; madame chrysantheme; babel; racial and sexual stereotype; japanese women. Includes bibliographical references.
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Itocazo, Gabriela Rocha. "Um estudo sobre as pinturas de montanhas-e-águas e outras tópicas do mundo-flutuante, em Cem Vistas do Monte Fuji, de Hokusai." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-24102018-111225/.

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Esta dissertação dedica-se ao estudo da obra \"Cem Vistas do Monte Fuji\" (Fugaku Hyakkei) (1834-47?), de Katsushika Hokusai (1760-1849), pintor japonês do século XVIII-XIX. Trata-se de um livro-imagem (ehon), com cento e duas estampas impressas em preto-e-branco (sumizukuri) e tons de cinza (em sua 1ª edição), produzidas com a técnica da xilogravura japonesa, dentro do estilo ukiyo-e (pinturas do mundo-flutuante). O foco da pesquisa está em (1) estudar os assuntos presentes nas estampas, reconhecendo suas categorias dentro de tópicas tradicionais da pintura japonesa, suas referências temáticas, literárias, mitológicas, religiosas e particularidades; (2) analisar os aspectos temáticos e estéticos, em relação à espacialidade, perspectivas e composições, para identificar e refletir acerca das influências ocidentais, chinesas e da tradição japonesa presentes na obra. Ao final do projeto propõe-se uma revisão de nomenclatura para as vistas do mundo natural (shizen), produzidas por Hokusai, em sua última fase de criação (século XIX) comumente chamadas, pelos especialistas, de sansuiga (pinturas de montanhas-e-águas), no Japão, ou \"pintura de paisagem\", no Ocidente. Para tanto, na primeira parte contextualiza-se a vida e obra do pintor, apresentando brevemente características da sociedade japonesa, do período Edo (1603-1868), o estilo artístico ukiyo-e, a técnica utilizada, os sistemas tradicionais de transmissão de saberes nas artes e os nomes de artistas (go) do pintor, para então realizar um estudo sobre os gêneros \"pintura de paisagem\", da tradição ocidental, e \"pinturas de montanhas-e-águas\", da tradição chinesa (shanshuihua) e japonesa (sansuiga), a fim de compará-los e reconhecer as influências estéticas e temáticas presentes nas estampas do pintor. Na segunda parte analisa-se a obra \"Cem vistas do Monte Fuji\", elencando-se assuntos dentro de tópicas da tradição pictórica japonesa, para que assim fosse possível reconhecer as camadas e composições das estampas, tal como suas referências formais e temáticas, debatidas no primeiro capítulo. Foi realizado, para fins metodológicos, uma classificação em sete categorias, para cada uma delas foram selecionadas algumas imagens que melhor exemplificam temas e tratamentos formais que se pretendeu discutir: (i.) Cenas históricas, figuras mitológicas e lendárias; (ii.) Pinturas de montanhas-e-águas e de flores-e-pássaros; (iii.) Cenas de homens-letrados, de contemplação e de lugares-famosos; (iv.) Cenas de assuntos religiosos; (v.) Cenas de usos-e-costumes, de viajantes e trabalhadores; (vi.) Os disfarces e as linhas do Mt. Fuji; (vii.) Geometria, carpintaria e arquiteturas.
This dissertation is dedicated to the study of \"Hundred Views of Mount Fuji\" (Fugaku Hyakkei) (1834-47?), by Katsushika Hokusai (1760-1849), a 18th-19th century Japanese painter. It is a picture-book (ehon), with one hundred and two prints in black-and-white (sumizukuri) and shades of gray (in its 1st edition), produced with the Japanese woodcut technique, in the style of ukiyo-e (floating-world paintings). The focus of the research is to (1) study the subjects present in the prints, recognizing their categories within traditional Japanese painting topics, their thematic, literary, mythological, religious, and particular references; (2) to analyze the thematic and aesthetic aspects, in relation to spatiality, perspectives and compositions, to identify and reflect on the Western, Chinese and Japanese influences present in the work. At the end of the project is proposed a review of nomeclature for the views of the natural world (shizen), produced by Hokusai, in their last phase of creation (19th century) commonly called by experts, sansuiga (mountains-and-waters paintings), in Japan, or landscape painting, in the West. Therefore, the first part contextualizes the work and life of the painter, briefly presenting characteristics of Japanese society in the Edo period (1603-1868), the ukiyo-e artistic style, the technique used, traditional transmission systems of knowledge in arts and the artist\'s names (g) of the painter, to carry out a study of the \"landscape painting\" genres, of the Western tradition, and \"mountains-and-waters paintings\", of the Chinese tradition (shanshuihua) and Japanese (sansuiga) traditions, in order to compare them and to recognize the aesthetic and thematic influences present in the painter\'s prints. In the second part, the work \"Hundred Views of Mount Fuji\" is analyzed, listing subjects within topics of Japanese painting tradition, so that it would be possible to recognize the layers and compositions of the paintings, as well as their formal and thematic references discussed in the first chapter. For methodological purposes, a classification was made in seven categories, for each one of them was selected some images that best exemplified formal themes and treatments that were intended to be discussed: (i) Historical scenes, mythological figures and legendary; (ii.) Mountains-and-waters and flowers-and-birds paintings; (iii.) Scenes of literate men, contemplation and famous-places; (iv.) Scenes of religious subjects; (v.) Scenes of uses-and-customs, travelers and workers; (vi.) Fujis disguises and lines; (vii.) Geometry, carpentry and architectures.
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Shimizu, Priscila Yanagihara. "Shin-hanga e Hiroshi Yoshida: paisagens de uma nova gravura." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-31102018-155822/.

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A presente pesquisa investiga o movimento de gravura moderna japonesa Shin-hanga, que se iniciou na Era Meiji (1868 1912) e foi desenvolvido nas duas eras subsequentes, Taish (1912 1926) e Shwa (1926 1989), em um momento em que o Japão passava por um processo de ocidentalização. Tal contexto histórico é explicado no primeiro capítulo, o qual nos ajuda a entender o desenvolvimento do Shin-hanga e suas relações com o mundo e a arte ocidental, principalmente a europeia. O movimento em si é explicado no segundo capítulo: o seu início, o desenvolvimento e os principais artistas. A paisagem, ou as vistas de lugares, foi o tema escolhido para a análise das imagens. Como exemplo do movimento, destacou-se o artista Hiroshi Yoshida (1876 1950), o qual teve muitas oportunidades para viajar para fora do Japão, tendo a vivência no Ocidente e no Oriente. Yoshida fez pinturas e xilogravuras e utilizou a técnica tradicional japonesa em sua produção, mas também incorporou conceitos ocidentais no estudo de luz, por exemplo. Suas obras foram estudadas estabelecendo comparações com as estampas Ukiyo-e e algumas pinturas impressionistas europeias.
The present research investigates the modern Japanese print movement Shin-hanga, which began in the Meiji Era (1868 1912) and was developed in the two subsequent eras, Taish (1912 1926) and Shwa (1926 1989), at a time when Japan underwent a process of westernization. Such a context is explained in the first chapter, which helps us understand the development of Shin-hanga and his relations with the world and Western art, mainly European. The movement itself is explained in the second chapter: its beginning, development and the leading artists. The landscape, or the views of places was the theme chosen for the analysis of the images. As an example of the movement, the highlight is on the artist Hiroshi Yoshida (1876 - 1950), who had many opportunities to travel outside Japan, having experience in the West and East. Yoshida made paintings and prints and used the traditional Japanese technique in his production, but also incorporated Western concepts in the study of light, for example. His works were studied alongside Ukiyo-e prints and some Impressionist paintings by European artists.
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Kreskey, Faith. "Leaping Monsters and Realms of Play: Game Play Mechanics in Old Monster Yarns Sugoroku." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12980.

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Taking Utagawa Yoshikazu's woodblock printed game board Monster Yarns as my case study, I will analyze how existing imagery and game play work together to create an interesting and engaging game. I will analyze the visual aspect of this work in great detail, discussing how the work is created from complex and disparate parts. I will then present a mechanical analysis of game play and player interaction with the print to fully address how this work functions as a game. While some elements of game play are problematic, I propose that the highly visual nature of Monster Yarns counteracts these issues to create an enjoyable game.
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Biron, Carole. "Pigments et colorants dans l'art de l'estampe japonaise ukiyo-e (XVIIIe - XIXe siècles) : apports de l'imagerie hyperspectrale et de la spectroscopie infrarouge." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30032.

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Les ukiyo-e désignent les estampes produites au Japon entre le XVIIe et le XIXe siècle. Elles sont le reflet des changements sociaux et économiques de la société japonaise pendant la période d’Edo (1615-1868), ère de paix et de prospérité, et adoptent une nouvelle iconographie représentant des scènes de la vie quotidienne et des plaisirs de la vie. Les techniques et les matériaux employés par les artistes évoluent également. Les premières estampes colorées apparaissent au début du XVIIIe siècle et au XIXe siècle, avec l’ouverture économique du Japon, des pigments chimiques importés d’Occident enrichissent la palette chromatique disponible. La collection Torralba (Musée de Saragosse, Espagne) comprend un fonds d’estampes ukiyo-e représentatives du XVIIIe et XIXe siècle. L’accès à ce corpus nous donne l’opportunité d’étudier les matériaux utilisés grâce à des méthodes adaptées, non invasives et sans contact, afin de suivre l’évolution de la technique et/ou des matériaux (locaux ou importés) employés. Un développement méthodologique est impératif afin d’analyser et de caractériser ces matériaux (pigments, colorants, liants, support), notamment les colorants organiques, difficiles à identifier. Les techniques de spectroscopie de réflectance dans l’infrarouge et d’imagerie hyperspectrale sont théoriquement capables de discriminer les matériaux organiques et inorganiques. Cependant les œuvres analysées sont souvent des systèmes complexes et les données obtenues sont la plupart du temps difficiles à interpréter de manière certaine. Il est donc indispensable de mettre en place une stratégie multi analytique afin de croiser les données et d’obtenir un maximum d’informations pour permettre l’identification des matériaux. L’étude de l’évolution des matériaux au cours du temps permet ainsi d’obtenir des informations importantes du point de vue de l’histoire de l’art et des techniques, reflets notamment des évolutions culturelles et sociétales au Japon au cours du XIXe siècle
Ukiyo-e means the prints produced in Japan between the 17th and 19th centuries. They reflect the social and economic changes in Japanese society during the Edo period (1615-1868), era of peace and prosperity, and adopt a new iconography depicting scenes of everyday life and the pleasures of life. The techniques and materials used by artists are also changing. The first coloured prints appear in the early 18th century. From the 19th century, with Japan's economic opening, chemical pigments imported from the West enrich the available color palette. The Federico Torralba Collection (Museum of Zaragoza, Spain) includes ukiyo-e prints representative of the 18th and 19th centuries. Access to this corpus gives us the opportunity to study the materials used, through appropriate non-invasive and contactless methods, and to follow the evolution of technologies and/or materials (local or imported) used. A methodological development is imperative to analyse and characterise these materials (pigments, dyes, binders), including organic dyes which are difficult to identify. Reflectance spectroscopy techniques in the infrared (FORS) and Hyperspectral Imaging (HSI) are theoretically capable of distinguishing organic from inorganic materials. However, the analysed works are often complex systems and the data obtained are difficult to interpret with certainty for the most of the time. It is therefore essential to establish a multianalytical strategy to cross the data in order to get maximum information allowing the identification of materials. The study of the evolution of materials over time gives the opportunity to obtain important information in art history and history of technology, reflecting the cultural and societal evolution in 19th century Japan
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Daniel, Leah. "Utamaro’s Picture Books: A Study in Cross-Cultural Artistic Aesthetic." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428065911.

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Books on the topic "Ukiyo-e"

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Akira, Watanabe, and Kenji Hinohara. Kowai ukiyoe: Scary pictures of ukiyo-e. Kyōto-shi: Seigensha, 2016.

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editor, Fujisawa Murasaki 1967, ed. Ukiyoe meihin 100-sen: The 100 greatest works of ukiyo-e form Japan Ukiyo-e Museum. Tōkyō: Shōgakkan, 2020.

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Prints, Adachi Institute of Woodcut. Ukiyo-e woodblock printing. [Japan?]: MOA Foundation, 1985.

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Morena, Francesco. Ukiyo-e: Utamaro, Hokusai, Hiroshige. Firenze: Giunti, 2007.

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Mihashi, Mari. Gendai no ukiyo eshi: A modern ukiyo-e artist's works. Tōkyō: Sōkai Shuppan, 2006.

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Yamaguchi, K. Ukiyo-e Hakka =: Eight flowers of ukioy-e. Tokyo: (s.n.), 1985.

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Akira, Watanabe, and Kenji Hinohara. Nippon no ukiyoe: Ukiyoe ni egakareta "Nihon no imēji" = Japan in ukiyo-e. Tōkyō: Shōgakkan, 2020.

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1904-, Narazaki Muneshige, ed. Ukiyo-e masterpieces in European collections. Tokyo, Japan: Kodansha, 1988.

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Belgique, Bibliothèque royale de, and Yomiuri Shinbunsha Bunka Jigyōbu, eds. Ukiyo-e royal collections from Belgium. Tōkyō]: Yomiuri Shinbunsha, 2008.

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Purojekuto, Kokusai Nihon Bunka Kenkyū Sentā Kaigai Nihon Bijutsu Chōsa. Kaigai ukiyoe shozai sakuin =: Index of ukiyo-e in western collections. Kyōto-shi: Kokusai Nihon Bunka Kenkyū Sentā, 1996.

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Book chapters on the topic "Ukiyo-e"

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Hodge, Susie. "Ukiyo-e." In 50 Schlüsselideen Kunst, 64–67. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-39328-0_17.

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Vaporis, Constantine Nomikos. "Anatomy of a Ukiyo-e (Woodblock Print)." In Voices of Early Modern Japan, 228–32. Other titles: contemporary accounts of daily life during the age of the Shoguns Description: 2nd edition. | Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003005292-56.

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Monta 早川聞多, Hayakawa. "Uses of shunga and ukiyo-e in the Tokugawa period." In The Tokugawa World, 647–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003198888-45.

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Li, Kangying, Biligsaikhan Batjargal, Akira Maeda, and Ryo Akama. "Artwork Information Embedding Framework for Multi-source Ukiyo-e Record Retrieval." In Digital Libraries at Times of Massive Societal Transition, 255–61. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-64452-9_23.

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Sammeck, Marina. "7. Ausstellungen in den Zweitausenderjahren: Ukiyo-e als Vorboten populärkultureller Medien." In Reise ins bekannte Fremde, 181–214. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839471487-007.

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Wang, Jiayun, Biligsaikhan Batjargal, Akira Maeda, and Kyoji Kawagoe. "A Recommender System in Ukiyo-e Digital Archives for Japanese Art Novices." In Lecture Notes in Computer Science, 205–9. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-04257-8_22.

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Song, Yuting, Biligsaikhan Batjargal, and Akira Maeda. "A Preliminary Attempt to Evaluate Machine Translations of Ukiyo-e Metadata Records." In Digital Libraries at Times of Massive Societal Transition, 262–68. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-64452-9_24.

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Batjargal, Biligsaikhan, Fuminori Kimura, and Akira Maeda. "Approach to Cross-Language Retrieval for Japanese Traditional Fine Art: Ukiyo-e Database." In Research and Advanced Technology for Digital Libraries, 518–21. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15464-5_71.

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Sammeck, Marina. "5. Ukiyo-e, Japanfieber und Imagekampagne: japanische Holzschnitte als Medium der japanischen Kulturdiplomatie in den Achtzigerjahren." In Reise ins bekannte Fremde, 121–48. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839471487-005.

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Sammeck, Marina. "3. Die Einführung von Ukiyo-e gegenüber der Öffentlichkeit in den Ausstellungen der Fünfziger- und Sechzigerjahre." In Reise ins bekannte Fremde, 49–92. Bielefeld, Germany: transcript Verlag, 2024. http://dx.doi.org/10.14361/9783839471487-003.

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Conference papers on the topic "Ukiyo-e"

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Li, Liang, Chulapong Panichkriangkrai, and Kozaburo Hachimura. "Ukiyo-e Rakkan Retrieval System." In 2013 12th International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2013. http://dx.doi.org/10.1109/icdar.2013.37.

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Eustachio Fonseca Ribeiro, Lucia, and Amadeo Gatti Galdino. "Drawing in Ukiyo-e Prints." In XXIII Congresso de Iniciação Científica da Unicamp. Campinas - SP, Brazil: Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-36981.

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Okuda, S., S. Taguchi, M. Melgosa, and K. Okajima. "PREFERRED LIGHTING FOR UKIYO-E, JAPANESE WOODBLOCK PRINT PAINTINGS." In CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.po129.

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Abstract:
In most cases the appearance of cultural properties depends on surface colours, materials and lighting conditions. This study aims to clear the preferred lighting conditions for the appearance of specific cultural properties named Ukiyo-e, Japanese woodblock print paintings. We used two kinds of Ukiyo-e as visual targets and investigated their appearance under 12 illuminants (D65, A, D50 plus nine LEDs proposed in CIE 015:2018), and three levels of vertical illuminance (50, 200 and 500 lx). According to the results, the preferred appearance of Ukiyo-e was affected by the lighting conditions as well as by specific colours of the paintings. Illuminants with high correlated colour temperatures (CCTs) made paintings appear as newer, and the illuminance of 50 lx was not preferred. We also found that the painting including blue colours was preferred under illuminants with slightly high CCTs, and illuminants with low CCTs were not appropriate for good appearance of Ukiyo-e.
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Wang, Jiayun, and Kyoji Kawagoe. "Ukiyo-e recommender system using restricted boltzmann machine." In iiWAS2017: The 19th International Conference on Information Integration and Web-based Applications & Services. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3151759.3151833.

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Kubo, Yuka, Sho Cho, Takanori Usami, and Koichi Hirota. "A method for 3D scene reconstruction from Ukiyo-e." In ACM SIGGRAPH 2008 posters. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400885.1401005.

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Kusajima, Shota, Takuya Takahashi, and Yasuyuki Sumi. "Virtual Participation in Ukiyo-e Appreciation using Body Motion." In AH2018: The 9th Augmented Human International Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3174910.3174946.

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Yoshimura, Fujiko, and Suguru Saito. "Generalized projection for yamato-e and ukiyo-e with projection reference plane." In CGI '17: Computer Graphics International 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3095140.3095159.

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Lopes, Giovana, and Luise Weiss. "O ukiyo-e em diálogo com os seres fantásticos ocidentais." In Congresso de Iniciação Científica UNICAMP. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/revpibic2720192397.

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Patil, Pritish, Jiayun Wang, Yuya Aratani, and Kyoji Kawagoe. "Prototyping a recommendation system for Ukiyo-e using hybrid recommendation algorithm." In 2017 Twelfth International Conference on Digital Information Management (ICDIM). IEEE, 2017. http://dx.doi.org/10.1109/icdim.2017.8244658.

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Kubo, Yuka, Zhao Jie, and Koichi Hirota. "A method for transformation of 3D space into Ukiyo-e composition." In ACM SIGGRAPH ASIA 2008 artgallery: emerging technologies. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1504229.1504250.

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