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 siècleUkiyo-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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Kohlburn, Joseph Robert. "A History of Dissent: Utagawa Kuniyoshi (1797-1861) as Agent of the Edokko Chonin." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242853913.
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Fijalkovich, Bryan. "The Rise of Rustic Genji in Edo and Its Intertextuality." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1314044811.
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Haft, Alfred. "Patterns of correspondence between the floating world and the classical tradition : a study of the terms Mitate, Yatsushi and FuÌ?ryuÌ? in the context of Ukiyo-e." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417910.
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Maire, Palma Gonzalo. "El Ukiyo-e en los límites de la imagen : estudio sobre la colección de estampas japonesas clásicas del Archivo Central Andrés Bello de la Universidad de Chile." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/145228.
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Doctorado en filosofía con mención en estética y teoría del arteLa presente investigación doctoral desarrolla un revisionismo y una apertura de tipo conceptual y metodológico de la Colección de Estampas Japonesas Clásicas (conjunto de piezas ukiyo-e) que custodia el Archivo Central Andrés Bello, sobre una doble sedimentación crítica: ser un conjunto de objetos artísticos de procedencia japonesa, y estar emplazados, normativizados, sobre una institucionalidad museal chilena. La naturaleza bicéfala de las obras no es casualidad: la hipótesis de estudio de esta investigación conjetura que ello responde a un cúmulo de lógicas, órdenes de expectativas, metodologías, y, en fin, a rasgos paradigmáticos sobre el Arte que se inseminaron en Japón durante el siglo XIX desde la tradición occidental (es decir, desde la influencia de corte europeo y estadounidense). Aquella constelación teórica ha determinado hasta hoy el acercamiento interrogativo y la investigación sobre el ukiyo-e desde un horizonte cultural y, particularmente, hacia una fijación como un tipo de objeto testimonial y representacional de lo real-social. Considerando sólo una de las múltiples dimensiones de la obra artística, la Imagen, esta investigación reflexiona su estatuto en el ukiyo-e desde una teoría de la Imagen: de una parte, a través de los rasgos fundamentales del modelo paradigmático que intervienen en su definición convencional y aplicación en el museo local; y, de otra, las posibilidades, a partir de los límites del antedicho modelo, de abrir nuevos espacios de exploración e interrogación del objeto de estudio. Respecto al modelo convencional, la investigación precisa su fundacionalidad en las aportaciones del crítico estadounidense Ernst Fenollosa, que se desarrollan en tres aristas: un ontoteleologismo de la obra, una determinación de la coyuntura social y una preponderancia del concepto de Representación. De otra parte, para la enunciación de los nuevos espacios de estudio sobre el ukiyo-e, la investigación reflexiona la Imagen sobre un doble problema de vinculación con el fenómeno artístico japonés: la cuestión del Parentesco y el Contagio.
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Amico, Valentina <1990>. ""Ukiyoe: un’indagine artistico-economica tra Japonisme e Branding."." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15172.
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Lo scopo di questo elaborato è quello di analizzare attraverso un lungo periodo storico, partendo dal XVII secolo fino all’anno corrente 2019, l’evoluzione artistica delle stampe Ukiyoe; in particolar modo come esse siano state un motivo di propulsione per l’avvento di un nuovo fenomeno culturale che a partire dalla seconda metà del 1800 portò in tutto il mondo occidentale una rinascita artistica fatta di prodotti e temi esotici. Questo fenomeno si è poi fatto strada negli anni evolvendosi e abbracciando non più solo le belle arti, ma anche la fotografia, il cinema, il design, la moda e la grafica. Quest’ultima ha permesso di imprimere nel corso degli ultimi decenni, attraverso dei moderni software, le antiche immagini di samurai, fiori, animali e geisha negli oggetti di uso quotidiano (borse, magliette, penne, costumi ecc.) alimentando la portata mondiale del fenomeno Ukiyoe e quindi la sua commerciabilità.
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Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.
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Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
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Chan, Amy Beth. "Trembling Earth." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1248.
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This thesis details the literary and visual influences in my work, the definition of American Gothic, and its connection it to my work. Literary sources such as Edgar Allan Poe and Fanny Kemble help spark a vision of the landscape. Visual influences include Japanese woodblock prints, scenic wallpapers, vintage postcards and Victorian mourning pictures. My regional explorations span the James River, Tidewater swamps and architecture within the city of Richmond.My work depicts local history and ecology inspired by Richmond and the surrounding region. Subtle Gothic elements add anxiety to the otherwise pastoral scenes. Gothic foreboding in the work questions our ecological future and the permanence of our human presence in the landscape.
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Popaiz, Giulia <1994>. "La linea blu. Il colore blu nelle stampe ukiyoe e la rivoluzione blu di Prussia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15257.
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Se oggi le xilografie ukiyoe sono riconosciute per il loro valore artistico, non è possibile ignorare il ruolo che ebbero i loro colori nel suscitare fascinazione nei loro confronti, primo fra tutti il blu. Già a partire dalla seconda metà dell’Ottocento uno degli aspetti che colpì i primi collezionisti e studiosi europei di stampe giapponesi furono le brillanti tonalità di blu che caratterizzavano le opere di molti artisti del periodo Edo, primi fra tutti Katsushika Hokusai e Utagawa Hiroshige. L’ammirazione per queste qualità cromatiche fu tale che essi denominarono tale colore “blu di Hiroshige”, esaltandone l’unicità e la peculiarità tutta giapponese, ma ignorandone la vera natura: esso altro non era, in realtà, che il primo pigmento sintetico della storia, creato in Germania nel 1704, ovvero il blu di Prussia (bero ai ベロ藍). Ma non si trattava certo dell’unico blu presente nella palette delle xilografie policrome giapponesi, perché altri due erano i pigmenti blu tradizionali utilizzati prima della sua introduzione in Giappone: l’indaco (ai, 藍) e il blu di commelina (tsuyukusa ao, 露草青).
Obiettivo di questa tesi è delineare quali fossero pigmenti blu utilizzati nella produzione di stampe ukiyoe, sia quelli tradizionali giapponesi che il blu di Prussia giunto dall’Europa, focalizzando l’attenzione sui procedimenti adoperati per produrli e cercando di definirne le proprietà ed eventuali difetti riscontrabili nel loro impiego. Si tenta quindi di capire quale vantaggio abbia rappresentato, per gli artisti che si occupavano della produzione delle xilografie policrome, proprio l’introduzione del blu di Prussia, e se esso si sia rivelato preferibile, e per quali motivazioni, ai coloranti autoctoni. Viene quindi proposta una cronologia della sua importazione in Giappone e i canali mediante cui questa avvenne, fino alla sua affermazione indiscussa a partire degli anni ’30 del XIX secolo. In tale analisi un ruolo importante è ricoperto dalle stampe aizurie, il cui successo è strettamente legato proprio a quello di quest’ultimo pigmento. L’intento infatti è quello di definire i fattori che determinarono la popolarità di tale colore e quali elementi di innovazione ciò comportò, oltre a indagare se la sua fortuna debba essere ricollegata a un clima culturale favorevole che seppe sfruttarne le potenzialità cromatiche. Infine ulteriore motivo di interesse è stabilire se, con l’introduzione nel processo di stampa del blu di Prussia, gli altri pigmenti blu tradizionali siano caduti in disuso oppure abbiano continuato ad essere adoperati.
Quello che questo lavoro vuole far emergere sono le tecniche di produzione e impiego dei pigmenti blu caratteristici delle xilografie policrome giapponesi, e inoltre desidera dare una visione d’insieme che dimostri come il colore blu sia stato un protagonista fondamentale nell’evoluzione delle stampe ukiyoe, in particolare considerando l’impatto che ebbero le aizurie nel panorama artistico dell’ultimo periodo Edo e nello sviluppo del filone paesaggistico, di cui Hiroshige e Hokusai furono due interpreti.
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Lin, Tzu-Yu, and 林子瑜. "The Legend of Ukiyo-e on 3 Buddhist concept." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/95141229476778060215.
Full textAbstract:
碩士國立臺北教育大學
藝術學系碩士班
96
This society is filled with various types of people. We have different entities with different external appearance and intrinsic spirit. Despite the variation, we are actually all derived by our own desire. A worn out body which is controlled from it’s non-stop dreamy imagination, lead to a painful and miserable beyond description. From worry to extrication and vice versa, these acts of terror are documented by one of my creations,“The Legend of Ukiyo-e on 3 Buddhist concept of“1. Desire phenomenon 2. Physical phenomenon and 3. Invisible phenomenon.” This topic is divided into four chapters: the first chapter explains the background and motivation. The second chapter is the discussion of the correlation of the subject idea and the human society. The third chapter analyzes the work implication and the process of creation. The fourth chapter concludes the topic with self reflection and future forecast.
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WU, CHIEN-WEI, and 吳建緯. "Contemporary Ukiyo-e: The Research on Ink Painting of Contemporary Network and Social Phenomenon." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/245nc2.
Full textAbstract:
碩士國立臺南大學
視覺藝術與設計學系碩士在職專班
106
The research uses the art practice to try to convey and analyze the entanglement and power structure in contemporary network society and to rethink the thought and feelings of facing network in contemporary society. Through the practice, the research thinks that if human beings could do some adjustment and change on the behavior to rethink the fundamental meaning of network. The research uses the image to deconstruct the normality and myth of network and wants people to use artform to face the real life and existence and choose the way of life value building. The works used the performance way of Ukiyo-e, and its clear line and vivid large surface constructed the main creation. The use of color goes back to the original one and ink polished on the background to create the atmosphere. The research was divided into five chapters. Chapter One: Introduction, which includes motivation and goal, research method, scope and limitation, terminology. Chapter Two: Literature Review, the research starts with network technology and contemporary life and the change of values to connect the Ukiyo-e with contemporary life. Chapter Three: Creation Idea and Enactment: the author explains the related information in this chapter. Chapter Four: Creation Analysis. Chapter Five: Conclusion. The society and arts works implicatively and the author believes that though arts expressions are important and the humanistic care is equally important.
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Yeh, Che-Wei, and 葉哲維. "Applying landscape paintings of Ukiyo-e style to series creations-landscape paintings of Pingsi Township." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/9sbxcs.
Full textAbstract:
碩士銘傳大學
設計創作研究所碩士班
94
Ukiyo-e or “pictures of the floating world” were popular in eighteenth-century in Edo period of Japan. They took for their subject the real world, people’s lives, and contemporary culture. As Ukiyo-e could be mass-produced, they were affordable and thus circulated widely among ordinary people. Ukiyo-e developed into three main categories: portraits of beauties, portraits of actors, and landscapes. The present work uses Ukiyo-e as the basis for theoretical investigation and creative design, and aims to use them in the promotion of tourism in Pingsi Township, Taipei County. Pingsi Township used to be famous for its coal mining and was called the “Coal Town of Taiwan.” Although the mining industry has declined, there is a unique air of nostalgia in Pingsi, which harks back to past glories. The Shih-Fen-Liao Waterfall, the biggest of its kind in Taiwan, is located in Pingsi Township. In addition, the town holds the celebrated annual hot-air lantern festival. With various activities on offer, Pingsi is the best place for excursions for people in northern Taiwan. A railway line passes through Pingsi Township and provides convenient transportation. Although bulletins with tourist maps are available in the station, the setting itself does not incorporate any local flavor, nor are there souvenir shops for tourists. Therefore, the present design seeks to remedy this deficiency. It includes a field study of Pingsi Township, and uses painting and computer-assisted coloring skills to modify traditional photographs of scenic spots, so that visitors can enjoy a different travel experience and see the place from a different point of view. In this way, we hope that both visitors and local residents can be re-introduced to the beauty of Pingsi Township, and thus we will achieve the goal of promoting tourism.
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張婉瑛. "The Influence of Ukiyo-e on Late Ching Paintings from “Dian-Shih-Chai-Tsung-Hua"." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/4rxyaf.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
96
The “Shanghai School” is a new group of new-styled painters in late Ching Shanghai. It brings tremendous transfer revolutionary to Formalism in early Ching Dynasty. It is formed by brand-new composition, themes which have never seen before, painters’ creation and foreign painting skills. The article takes Japanese styled paintings in “Dian-shih-chai-tsung-hua” as the begging, finding the reason of forming Japanese styled painting and researching its origins. In fact, I find that those works come from many Japanese paintings. The cultural interaction between China and Japan has played an important role since long time ago. Therefore, the article takes landscape painting and figure painting, on which Japan has greater effect, in modern Chinese paintings. I manage to analyze the relationship between the development of late Ching paintings and Japanese paintings through ways of the intercourse between Chinese and Japanese culture, their social background, style and etc.. As the leader of the “Shanghai School”, “Four Jen” and, Wu You-Ju, who is the chief editor of “the pictorial magazine of Dian-shih Cottage”, take advantages from foreign paintings. Their paintings with Ukiyo-e are another points in this graduate thesis. Meanwhile, due to the spreading of lithographic prints in late Ching, it turns the history of Chinese engraving into a new leaf. Chinese traditional woodcut has some advantages which can’t be replaced by modern techniques, so the graduate thesis states the general development from Chinese woodcut to modern letterpress painting at the conclusion. It offers engraving lovers reference materials with first published information.
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Kuojuishu and 郭瑞淑. "Integration of ukiyo-e and modern depiction of beauty the female image as an example." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/39399979120200559519.
Full textAbstract:
碩士樹德科技大學
應用設計研究所
94
My artwork is based on the Japanese ukiyo-e ("pictures of the floating world") and the characteristics of Art Nouveau. By combining six elements, such as bamboo, black teeth, wooden clogs, and peacock, and transforming my idea into an integral 3-dimensional art, my goal is trying to bridge the common elements between the World of East and the West. By presenting this artwork, I hope my ideas can provide the cosmetic industry a new thought and reference.
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Chiou, Wei-Ming, and 邱韋明. "A study on the Architectural and Urban Manifestation of Japanese Ukiyo-e in Edo Era." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/16229047476651797112.
Full textAbstract:
碩士中國文化大學
建築及都市設計學系
104
In 1615, Shogun Tokugawa Ieyasu (1543-1646) had unified the whole country and set up the Tokugawa administration. The Edo era which had achieve the peace of country for nearly 300 years commenced. For keeping the stability of country, Tokugawa issued a decree ordering that all feudal lords with their families have to dwell periodically in capital city Edo. Attracted by the large amount of working opportunities offered in Edo, the people around the country gathered here and worked hard which did bring the prosperity of city. Owing to the peace and prosperousness of country, the popular culture evolved eventually which had resulted the general public a symbiotic way of Edo life. At the end of the 17th century, the Edo painter Hishikawa Moronobu (1618-1694) had issued single Ukiyo-e piece from the pictorial album, an edition which revealed the details of the pluralistic nature of popular life in Edo. Being reflected on the social aspect, the manifestation of popular life in Edo was characterized by the high popular population density, the crowded popular wooden street house, the popular bathing social place, the popular education system, and a variety of the popular worship and festival activities, etc. Being reflected on the economic aspect, the manifestation of popular life in Edo was characterized by the ample popular labor forces, the popular commercial water transportation system, the popular tourist customs, the popular eating habits, the pleasant popular shopping activities, etc. Being reflected on the cultural aspect, the manifestation of popular life in Edo was characterized by the popular residential house and kabuki theater, and the popular cultural events of kabuki, sumo, bonsai, and tea ceremony, etc. This research, being verified by the pictorial evidence of Ukiyo-e, is to explore the pluralistic significance of Edo social life which was revealed on the various realities of the city economic, social, and cultural manifestation.
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LIN, TING YU, and 林庭羽. "“Ukiyo-e” artstyle applies in the illustration creation presenting to the legends of Chinese medicine." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/f72b3u.
Full textAbstract:
碩士國立臺灣藝術大學
視覺傳達設計學系
106
The boundless oriental culture is also the product of the passing down of tens of thousands of years. With the continuous exchange among all countries, the foundation of present-day cultural knowledge has been laid. This research focuses on the two major arts and medical cultures as a category. By incorporating the unique Japanese Ukiyo-e style into the works and introducing the legends of Chinese medicine, the two themes are mainly depicting folk life and correspond to each other, making China and Japan Culture can blend with each other. Through literature analysis, this study explored the ins and outs of traditional Chinese medicine, learned about the classic Chinese medical writings and methods of classification, and explored the development of Ukiyo-e art culture and sorted out the manifestations and characteristics of Ukiyo-e. And then deconstruct the theme and content of traditional Chinese medicine and folk culture through postmodernism design theory to reconstruct the creation of novel symbol illustration. Then, in the case analysis, learn different contemporary ukiyo-e illustration art and watch the creation of modern illustrator Thinking, referring to each different artistic style and elemental composition, and through the representative of the East and the unique pattern of color patterns for illustration reconstruction. Let the artistic ideas of the past and the recent can overlap with each other, let the traditional Chinese medicine folktales be carried forward and awaken and inherit the declining knowledge of traditional Chinese medicine. This research is based on Herbal Materia Medica of Shen Nong's Materia Medica, which is made up of two kinds of traditional Chinese medicines of top grade, III middle grade and inferior grade. Contains cassia, red dates, angelica, prickly heat, almonds, betel nut six different stories, a total of 16 works. Each piece of work according to the story is simple and complex to determine the number of even the picture. Through the literature analysis of the previous period, this study understands the Ukiyoe style features and the use of woodcut lines, and uses the Ukiyo-e's low-saturation color as the tone of the series, and then uses different meanings between China and Japan The color and pattern patterns, the use of metaphor method to illustrate the story. In the exhibition design, the oil painting frame is used for output. With the frameless frame of the painting frame, Lianlian painting can be vividly displayed. Meanwhile, the traditional Chinese medicine can be placed on the wall to satisfy the viewer's touch and make the exhibition not dull. After the overlap and integration of the two major cultures, folk customs can be displayed cross-culturally, and modern people can learn more about traditional Chinese medicine culture and have more sympathy and appreciation for oriental art.
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Emiliano, Paulo Alexandre De Albuquerque. "DE SOL A SOL Trabalho-projecto em torno da colecção de ukiyo-e do Museu Calouste Gulbenkian." Master's thesis, 2021. http://hdl.handle.net/10362/129607.
Full textAbstract:
O objectivo deste Trabalho-Projecto é conceber uma mostra sequencial das estampas japonesas — ukiyo-e —, que se encontram nas reservas do Museu Calouste Gulbenkian, e fazem parte da colecção, propondo uma série de oito exposições temporárias por um período de dois anos, através de um percurso temático, em que são apresentadas cerca de doze estampas em cada mostra. Simultaneamente proponho a forma segura de apresentação das obras, segundo os padrões actuais de conservação preventiva, tendo em conta a fragilidade das peças. Neste sentido são apresentados métodos e dispositivos seguros para que as obras sofram o mínimo desgaste físico. Indissociável do Trabalho de Projecto desta série de exposições, pareceu-nos importante entender a presença destas estampas na colecção de Calouste S. Gulbenkian, o que significou indagar e reflectir sobre as tendências e gostos artísticos que surgiram na Europa no final do século XIX e início do século XX, sobretudo no que diz respeito à arte japonesa, panorama este que, cremos, teve uma influência decisiva no gosto pessoal do coleccionador e no consequente desejo de possuir a sua própria colecção de xilogravuras. Paralelamente, problematiza-se a possível ligação deste núcleo de arte nipónica
ao núcleo de pintores impressionistas.The objective of this Project-Work is to conceive a sequential display of Japanese prints — ukiyo-e — that are in the reserves of the Calouste Gulbenkian Museum, part of the collection, proposing a series of eight temporary exhibitions for two years, through a thematic route — with about twelve prints presented in each exhibition. Moreover, I also aim at proposing a secure way of displaying the works, according to the current standards of preventive conservation, taking into account the fragility of the pieces. Safe methods and devices are presented so that the works suffer the minimum physical wear. But to understand the presence of these prints in the collection of Calouste S. Gulbenkian made me reflect on the trends and artistic tastes that emerged in Europe at the end of the 19th century and beginning of the 20th century relating to Japanese art, thus influencing his taste, as well as awakening in the collector the desire to own his collection of woodcut prints. At the same time, I questioned the possible connection of this nucleus of Japanese art to that of impressionist painters.
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鄭惠美. "The Influence of Bi Zen Ga of Japanese Ukiyo-E on the Style of Chen Chin''s Gouache Paintings." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/81083730846726440926.
Full textAbstract:
碩士國立屏東師範學院
視覺藝術教育研究所
91
The Influence of Bi Zen Ga of Japanese Ukiyo-E on the Style of Chen Chin’s Gouache Paintings In the 19th, the unique style and character of art of Japanese Ukiyo-E had influenced on the vision experience、art attitude and painting method of painters of Europe. The study adopted research methods of style model，history and art sociology to achieve the study good. The discoveries by the investigation of study are below: Bi Zen Ga of Japanese Ukiyo-E is derived from the folk paintings in the Hei An Period, the Bi Zen Ga produced in the Kan Bun Period, and there were many greater painters of Be Zen Ga of Ukiyo-E appeared in the E-Do Period, the major painting composition in the beauty to create the ideal beauty by printers, each shows a special style in the every Ukiyo-E Period that became the most attractive art expression. The Bi Zen Ga of Ukiyo-E including some peculiarities are below: (1)Both Chinese and Japanese (2)realistic materials (3)majestic，decorative and modeling (4)the color expression principle emphasis on printmaking (5)abundant painting ability (6)the unique style that emphasis on sentiment (7)custom meaning (8)creation (9)romantic expression style. In the other hand, the art development during Japanese Occupation Period that played a very important role in the developing process of Taiwan art. Especially the Taiwan Art Exhibition in 1927 contributed to the wide-spreading excise of Taiwan New-Art. At that time the art education method and official art exhibition had influenced the attitude of Taiwan Art. Therefore, the major direction of Taiwan Exhibition emphasized on sketching and provincialism. Chen-Chin appeared her Bi Zen Ga in the Taiwan Art Exhibition when she graduated and introduce by Matubayasi（松林桂月） that joined in Bi Zen Ga System of Tokyo Ukiyo-E art master Kaburagi Kiyokata（鏑木清方）and guide by Itouhu Kami（伊東深水）、Yamakawa Syuhou（山川秀峰）,expressed many characters that included majestic、decorative、modeling、custom meaning and artist creation are apparent, also by means of teaching and self-learning to appear the composition、style、background、color、line…etc. in Chen-Chin’s painting that revealed deep effect of Bi Zen Ga of Ukiyo-E. There are many discoveries in this study as followings: (一)Chen-Chin joined in Kaburagi Kiyokata’s group and received the guidance of Itouhu Kami and Yamakawa Syuhou，Kaburagi Kiyokata is fifty-one years-old, and Itouhu Kami and Yamakawa Syuhou should be just only above thirty years old. Chen-Chin reminded the past:「Kaburagi Kiyokata is sixty to seventy years old,」「they(Itouhu Kami，Yamakawa Syuhou) are above fifty years old」that have some confusion about memories. But Kaburagi Kiyokata is fifty-one years old at that time belong to the prime of his life should able to adequate for painting teaching that appeared the other factor are worth deep search. (二)In the early 30 ages, Chen Chin’s painting are not only control the theme of provincialism, but also reveal the unique character of Taiwan’s beauties, a series of her Taiwan Lady Painting without any politics, even no more to challenger Japan’s authority. (三)According to writer’s study, the Chen-Chin’s painting 〈Spring Flower（春花）〉 that the creation age is not in the 1921, should in 1933 to 1934, and belong to the same age of 〈Touogatama（含笑花）〉、〈Nobe（野邊）〉. (四)In the Tung-Yang Painting of Taiwan Art Exhibition and Taiwan Viceroy Government Art Exhiibition, the joined and selected paintings that the themes can classify to paintings of scenery, flowers and birds portrait and the others. Although the portrait painting’s ratio in these kinds of paintings is not high, but the paintings of Bi Zen Ga occupy the higher ratio in portrait paintings, because of the effort of Bi Zen Ga painters in Taiwan, glory to Bi Zen Ga had been to Official Exhibition for sixteen appointment time. (五)The Chen Chin’s painting “Fall Voice” is obvious that familiar to the attitude of beauty’s turn back and hold the hands tight close to her chest. (六)There are imitate phenomenon exist in Japanese’s culture and art, that also the learn and create mode for Bi Zen Ga of Japan. (七)The beauty of ideal and model is the special type of Ukiyo-E, by means of this special model to create artist’s personality. The twin sisters’ painting style is as the same as Bi Zen Ga. From Bi Zen Ga of Japanese Ukiyo-E to modern Bi Zen Ga, the twin sister painting method that is a very popular in the Bi Zen Ga artists. The beauties in Chen Chin’s Bi Zen Ga are the ones full of ideal and model, likewise her favorite painting method is twin sisters. (八)The changeable line-drawing deeply and black line painting for melody, the speed rhythm of rush，slow，light and heavy are the expression methods in the early period of Ukiyo-E. Until mixed-color Printmaking in fashion that lines gradually incline to delicate，neat，even and no thickness change of steel-line drawing. This kind of reveal method also adopted. The Bi Zen Ga of Ukiyo-E of modern ages also adopted this kind of expression method. Chen-Chin had learned under Bi Zen Ga of Ukiyo-E System, that bring the character，meaning of Bi Zen Ga of Ukiyo-E into fully play, the Bi Zen Ga no matter what Ladies in Japanese kimono and women of Taiwan or mountain region full of local character, there are very deep influence on their form and substance, and bring the special quality, meaning Bi Zen Ga of Ukiyo-E into fully play. Not only is she the first female artist in the Taiwan Art history, but also a first Bi Zen Ga artist.
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Korach, Kendal Anee. "From court to pleasure quarters : Edo period ukiyo-e representations of the Tale of Genji as reflections of social transformations in Japan." 2001. http://purl.galileo.usg.edu/uga%5Fetd/korach%5Fkendal%5Fa%5F200112%5Fma.
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"Helen Hyde and Her "Children": Influences, Techniques and Business Savvy of an American Japoniste Printmaker." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.41261.
Full textAbstract:
abstract: After the opening of Japan in the mid-1800s many foreigners flocked to the
nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many
of her predecessors, however, she went as a single woman and was so taken with Japan
she made it her home over the span of fourteen years. While a number of cursory studies
have been written on Helen Hyde and her work, a wide range of questions have been left
unanswered. Issues regarding her specific training, her printmaking techniques and the
marketing of her art have been touched on, but never delved into. This dissertation will
explore those issues. Helen Hyde's success as a printmaker stemmed from her intense
artistic training, experimental techniques, artistic and social connections and diligence in
self-promotion and marketing as well as a Western audience hungry for "Old Japan," and
its imagined quaintness. Hyde's choice to live and work in Japan gave her access to
models and firsthand subject matter which helped her audience feel like they were getting
a slice of Japan, translated for them by a Western artist. This dissertation provides an in
depth bibliography including hundreds of primary newspaper articles about Hyde who
was lauded for her unique style. It also expands and corrects the listing of her printed
works and examines the working style of an American working in a Japanese system with
Japanese subjects for a primarily American audience. It also provides a listing of known
exhibitions of Hyde's works and a listing of stamps and markings she used on her prints.Dissertation/Thesis
Doctoral Dissertation Art History 2016
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Ambrosi, Mónica Cecilia. "Entre lo artesanal y lo digital : un proceso abierto de experimentación gráfica." Bachelor's thesis, 2020. http://hdl.handle.net/11086/21964.
Full textAbstract:
El presente Trabajo Final es el resultado de un proceso abierto de experimentación gráfica, que establece cruces entre lo artesanal y lo digital, enriqueciéndose constantemente de una reflexión teórica. Se producirá, por un lado, una búsqueda heurística, utilizando técnicas y materiales que se encuentran por fuera del ámbito de la tradición e incorporando tecnología digital y, por otro, se evidenciará la inclusión de oficios artesanales y de técnicas manuales milenarias, hecho que permitirá establecer semejanzas y, a la vez, producir contrastes entre ambos modos de producción.Fil: Ambrosi, Mónica Cecilia. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Artes Visuales; Argentina.
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Dantas, Beatriz Quintais. "Tōkaidō gojūsan tsui – Uma Série Japonesa na Coleção do Museu Calouste Gulbenkian." Master's thesis, 2021. http://hdl.handle.net/10362/123530.
Full textAbstract:
A presente dissertação é dedicada ao estudo da série de estampas japonesas intitulada Tōkaidō gojūsan tsui (Cinquenta e Três Pares ao Longo da Estrada do Tōkaidō), que integra atualmente o espólio da Coleção do Fundador do Museu Calouste Gulbenkian. Datada do ano de 1845 e composta por um conjunto de cinquenta e cinco xilogravuras, a série é fruto da mestria dos artistas Utagawa Kuniyoshi, Utagawa Hiroshige e Utagawa Kunisada, em conjunto com um grupo formado por seis editores, xilógrafos, tipógrafos e poetas, constituindo, assim, um exemplo de uma complexa produção ukiyo-e. Ao contrário de séries anteriores dedicadas à representação da popular estrada do Tōkaidō, Tōkaidō gojūsan tsui é composta por uma variada multiplicidade temática, desde histórias provenientes dos palcos do teatro kabuki, lendas e contos conhecidos do folclore japonês, figuras femininas, referências literárias e poéticas, tradições locais, entre outras, expressando, deste modo, um imaginário particular que define a sociedade nipónica do século XIX. Acresce ainda que o uso de determinados motivos, nomeadamente teatrais, são reflexo das restrições impostas pelo governo Tokugawa durante a era Tenpō, a partir do início da década de 1840, proibindo a publicação de retratos de atores e de outras celebridades da época. Uma vez que estas imagens e composições se situam entre a realidade e a imaginação, a análise de Tōkaidō gojūsan tsui enquanto objeto artístico implica uma visão abrangente das várias faces que o criaram, não apenas como espaço real construído pela estrada do Tōkaidō, a sua conjuntura social, geográfica, e política e o seu contexto de produção, mas também os universos que pertencem a algo não tangível e as histórias que o constroem.This dissertation is dedicated to the study of the series of Japanese prints entitled Tōkaidō gojūsan tsui (Fifty-Three Pairs Along the Tōkaidō Road), which is currently part of the Collection of the Founder of the Calouste Gulbenkian Museum. Dating back to 1845 and composed of a set of fifty-five woodblock prints, the series is the result of the artistry of Utagawa Kuniyoshi, Utagawa Hiroshige e Utagawa Kunisada, together with a group of six publishers, woodblock cutters, printers, and poets, therefore constituting an example of a complex ukiyo-e production. As opposed to previous series dedicated to the representation of the popular Tōkaidō road, Tōkaidō gojūsan tsui is composed by a varied thematic multiplicity, from stories from the kabuki theatre stages, well-known legends and tales of Japanese folklore, female figures, literary and poetic references, local traditions, among others, expressing, in this way, a specific imaginary that defines the Japanese society of the 19th century. Furthermore, the use of certain motifs, namely theatrical ones, is a reflection of the restrictions imposed by the government during the Tenpō era from the beginning of the 1840s which prohibited the publication of actor portraits and other celebrities of the time. Since these images and compositions lay in between reality and imagination, the analysis of Tōkaidō gojūsan tsui as an artistic object implies a comprehensive view of the various realms that create it, not just as a real space constructed by the Tōkaidō road, its social, geographical, and political conjuncture or its production context, but also the non-tangible universes and stories that make up such series.