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Journal articles on the topic 'Ukiyo-e'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Maire, Gonzalo. "Ukiyo-e, imagen, paradigma y representación: anotaciones desde una colección chilena." ALPHA: Revista de Artes, Letras y Filosofía 1, no. 48 (July 8, 2019): 167–78. http://dx.doi.org/10.32735/s0718-2201201900048624.

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Este artículo propone una reflexión acerca de una colección de ukiyo-e del Archivo Central Andrés Bello de la Universidad de Chile. La anchura del problema es extendida en dos constelaciones exploratorias: por una parte, indagar lo controvertible, aparentemente, de interrogar el objeto japonés desde las lógicas disciplinares occidentales (paradigmas), es decir, por medio de la dicotomía Occidente-Oriente. De otra parte, caracterizar cómo esta tensión inicial fue desatendida o invertida, como un paradigma de lo social en el ukiyo-e y, con ello, el principio de asociatividad de las imágenes en el espacio del museo (local).

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12

Kim, Jung-hui. "Chanoyu and Women’s Cultivation in Edo Woodblock Prints." Association for International Tea Culture 62 (December 31, 2023): 1–27. http://dx.doi.org/10.21483/qwoaud.62..202312.1.

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This study examines images of women’s tea practice (chanoyu) found in Edo-period woodblock prints such as ukiyo-e and educational books, with a focus on its social and cultural meaning. As a social gathering men’s tea practice is often represented with an emphasis on the scene in which guests come together, drink tea, and socialize. Scenes of women’s tea practice in ukiyo-e prints, on the other hand, mostly depict the image of a woman who is making tea (temae) by herself and highlight her tea utensils. This paper maintains that such variation originates from different social expectation towards tea practices of men and women. It was educational books for women (jokunsho), in particular, that influenced the formation of the discourses on women and their tea practice in the Edo period. Jokunsho presented that by learning temae procedures for chanoyu women were able to acquire manner and etiquette, which were necessary in cultivating genteel femininity. This essay argues that women’s temae scenes depicted in ukiyo-e reflect the social awareness of women’s tea practice, which was encouraged by educational books.

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13

Chen, Yijia. "Examining Utagawa Kuniyoshis Yose-e: The Playfulness and the Grotesque in the Floating World." Communications in Humanities Research 3, no. 1 (May 17, 2023): 443–50. http://dx.doi.org/10.54254/2753-7064/3/20220406.

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Utagawa Kuniyoshi is a highly regarded Japanese woodblock print-making master; most of his works are welcomed by the mass, for they address most aspects of civilians' everyday life in Late Edo Japan. However, some of his works seem set on uncommon themes with distorted expressions that make them less pleasing than simple popular art. This work aims at deciphering Kuniyoshis unconventional yose-e woodblock printings by contextualizing his works under the tradition of creating playful and grotesque ukiyo-e during the late Tokugawa period. By using theories of Edo aesthetics in these unattractive, sometimes disturbing images, this essay attempts to locate the cultural position of this relatively obscure branch of Late Edo ukiyo-e designing.

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14

YAMADA, Shoji. "Measuring the Ambiguity of Ukiyo-e Facial Expression." Journal of Japan Society for Fuzzy Theory and Systems 12, no. 4 (2000): 469–76. http://dx.doi.org/10.3156/jfuzzy.12.4_11.

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15

Kang, Tae Woong. "Ukiyo-e and Japonisme in the 21st Century." Korean Journal of Japanese Dtudies 20 (February 15, 2019): 78–99. http://dx.doi.org/10.29154/ilbi.2019.20.078.

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16

Kafū, Nagai, Kyoko Selden, and Alisa Freedman. "Ukiyo-e Landscapes and Edo Scenic Places (1914)." Review of Japanese Culture and Society 24, no. 1 (2012): 210–32. http://dx.doi.org/10.1353/roj.2012.0008.

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17

Nowak, Hannah. "Why is the Geisha Hitting the Westerner? The Japanese Woodblock Print Genre of awate-e." Vienna Journal of East Asian Studies 5, no. 1 (December 1, 2014): 139–70. http://dx.doi.org/10.2478/vjeas-2014-0006.

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Abstract This paper attempts to bring to light a little-known genre of ukiyo-e (Japanese woodblock prints), the awate-e (hysteria pictures). This genre of polychrome ukiyo-e (nishiki-e) belongs among caricatures because it treats current events in a satirical way. The Namamugi incident (September 14, 1862), when samurai of the Satsuma domain killed one British merchant and injured two, led to the emergence of the awate-e. The British Crown demanded reparations for those killed. While the shogunate postponed payment, British warships gathered in the Bay of Edo to exert pressure. The danger of war was real and the cities of Yokohama and Edo were considered the main targets of a British attack. Many people moved to rural areas or at least sent their families and belongings away. This led to an increased demand for transport, houses, and land in the countryside. Hardly anybody remaining in the cities spent time in the pleasure quarters or bought luxury goods. The results were dramatic for people in those trades. This situation is satirised in the awate-e. Starting with the question ‘Why is the Geisha hitting the Westerner?’, this paper explores the genre of awate-e and its relevance for historical and ukiyo-e research by studying 21 awate-e as primary sources. It reveals a negative appraisal of Westerners, of people leaving the danger zone, and of professions in high demand. The producers of awate-e are biased towards people staying in areas become dangerous, professions suddenly grown poor, and the foreigners-out policy of the Emperor.

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18

Almazán Tomás, V. David. "Utagawa Kunisada (1786-1865) y la serie Mitate rokkasen (1858): poetas del periodo Heian y teatro kabuki del periodo Edo en el grabado japonés ukiyo-e." Artigrama, no. 24 (December 9, 2022): 757–74. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2009247763.

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Utagawa Kunisada (1786-1865), también conocido como Toyokuni III, fue uno de los más importantes y prolíficos maestros de la escuela Utagawa, especializado en el diseño de los grabados ukiyo-e en varios de sus géneros, entre los que destacan el bijin-ga (mujeres hermosas) y el yakusha-e (actores de teatro). Su gran producción, en cantidad y en calidad, han hecho de Kunisada uno de los artistas más representativos del ukiyo-e, así como uno de los más influyentes en el arte occidental (Japonismo). En este estudio presentamos Mitate rokkasen, una serie de 1858 del género mitate-e (parodias, comparaciones), firmada Toyokuni-ga, en el que se relacionan los Seis Poetas, del periodo Heian, con seis famosos actores de teatro kabuki de mediados del siglo XIX. La serie completa, compuesta de seis estampas, se conserva en una colección privada de Zaragoza.

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Tabuchi, T., K. Kobayashi, N. Hiramatsu, Y. Matsushita, S. Suzuki, C. Watanabe, Y. Tomizuka, and N. Hashimoto. "JAPANESE IRIS 'HANA-SYOUBU' IN THE UKIYO-E PICTURES." Acta Horticulturae, no. 769 (June 2008): 421–26. http://dx.doi.org/10.17660/actahortic.2008.769.60.

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20

Kafū, Nagai, Kyoko Selden, and Alisa Freedman. "Selections from “Ukiyo-e Landscapes and Edo Scenic Places”." Review of Japanese Culture and Society 27, no. 1 (2015): 175–83. http://dx.doi.org/10.1353/roj.2015.0018.

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Almazán Tomás, V. David, and David Lacasta Sevillano. "Literatura japonesa y porcelana Kutani: Escenas del Genji Monogatari en el Museo de Artes y Costumbres Populares de Sevilla." Artigrama, no. 37 (June 30, 2023): 379–98. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379223.

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Resumen Los numerosos objetos de exportación japoneses llegados a Europa desde la apertura de la era Meiji (1868-1912) propiciaron el fenómeno del Japonismo y el coleccionismo de obras artísticas que hoy forman parte de numerosos museos. Este artículo analiza un conjunto excepcional de veintiuna piezas de porcelana de Kutani (Japón) conservadas en el Museo de Artes y Costumbres Populares de Sevilla procedentes de la colección de Joaquín Soria, cuya decoración son distintos episodios del Genji Monogatari, la gran obra clásica de la literatura japonesa, que sigue los diseños del artista de la estampa ukiyo-e Ogata Gekkō (1859-1920). En concreto, las escenas representadas en las cerámicas proceden de la serie Los cincuenta y cuatro capítulos del Genji realizada entre los años 1892 y 1895 en Tokio. Este conjunto de obras muestra que las estampas ukiyo-e de la era Meiji formaron parte de los repertorios decorativos de las porcelanas japonesas, proyectando una imagen de Japón basada en su rica tradición literaria y cultural. Abstract Numerous Japanese export objects arrived in Europe from the beginning of the Meiji era (1868-1912), giving rise to the phenomenon of Japonisme and the collections of works of art that today form part of several museums. This article analyses an exceptional set of twenty-one pieces of Kutani porcelain (Japan) from the Joaquín Soria collection in the Museo de Artes y Costumbres Populares in Seville. These pieces are decorated with different episodes from the Genji Monogatari, the great classic work of Japanese literature, which follows the designs of the ukiyo-e print artist Ogata Gekkō (1859-1920). The scenes depicted on the ceramics derive from the serie Fifty-four Chapters of the Genji, produced between 1892 and 1895 in Tokyo. This group of Kutani pieces shows that Meiji-era ukiyo-e prints formed part of the decorative repertoire of Japanese porcelain, projecting an image of Japan based on its rich literary and cultural tradition. Keywords Japan, Kutani, Porcelain, Genji, Ogata Gekkō.

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Titareva, Diana Stanislavovna. "The influence of Ukiyo-e on the artistic language of easel graphics of A. P. Ostroumova-Lebedeva in the 1900s-1920s (on the example of St. Petersburg collection of woodblock prints)." Культура и искусство, no. 3 (March 2021): 47–57. http://dx.doi.org/10.7256/2454-0625.2021.3.32778.

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The article reviews and analyzes the key easel graphic works by A. P. Ostroumova-Lebedeva from St. Petersburg collection of woodblock prints, created over the period from 1900s to 1920s. These works resemble the genre of Japanese art Ukiyo-e. The subject of this research is the uniqueness of the artistic language and the means of its expression in the works of A. P. Ostroumova-Lebedeva. Alongside other Russian artists of the turn of the XIX – XX centuries she was affected by Ukiyo-e, but perceived the Japanese wood engraving on a more profound level. The author examines the works of accomplished in this period, as well draws parallels with the woodblock prints of Japanese masters, using the formal-stylistic method. This approach is relevant as it reveals the role Japanese woodblock prints played in the establishment of artistic language of A. P. Ostroumova-Lebedeva. Within the Russian art history, this research is one of the few attempts of conducting comparative analysis between the woodblock prints of A. P. Ostroumova-Lebedeva and the works of Japanese masters, which defines the scientific novelty. The conclusion is made that the influence of Ukiyo-e can be traced in the compositional solution and in use of particular Japanese motifs in her works. The artist also contributed to the establishment of woodblock prints as an independent genre of graphic art, having enriched it with the images and color introduced by the Japanese masters.

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23

Ryee, milim. "A Study on the Characteristics of Ukiyo-e Publishing Culture." Japanese Cultural Studies 65 (January 31, 2018): 161–80. http://dx.doi.org/10.18075/jcs..65.201801.161.

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24

Ryee, MiLim. "A Study on the Continuity of Ukiyo-e and Photography." Japanese Cultural Studies 80 (October 31, 2021): 199–216. http://dx.doi.org/10.18075/10.18075/jcs..80.202110.199.

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Ryee, MiLim. "A Study on the Continuity of Ukiyo-e and Photography." Japanese Cultural Studies 80 (October 31, 2021): 199–216. http://dx.doi.org/10.18075/jcs..80.202110.199.

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26

Takata, Kazuyuki. "Toshusai Sharaku: The Enigmatic Ukiyo-e Master, and all aronnd." Japanese journal of ergonomics 43, no. 2Supplement (2007): 2–3. http://dx.doi.org/10.5100/jje.43.2supplement_2.

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27

Allen, Laura W., and Sandy Kita. "The Last Tosa: Iwasa Katsumochi Matabei, Bridge to Ukiyo-e." Monumenta Nipponica 54, no. 4 (1999): 569. http://dx.doi.org/10.2307/2668337.

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Tyagunova, E. O. "Japanese Woodblock Prints From the Second Half of the 19th to Early 20th Century in the Context of the Influence to the Western Art." Art & Culture Studies, no. 4 (December 2021): 198–215. http://dx.doi.org/10.51678/2226-0072-2021-4-198-215.

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There are known periods of development of Japanese traditional ukiyo-e engraving: from its origin in the 17th century and its flourishing in the 18th — first half of the 19th century to the “decline” in the second half of the 19th century. The period of Meiji Restoration (1868–1912) was marked by the opening of Japan after more than two hundred years of self-isolation, acquaintance with Western achievements in the field of industry, science and art. The article discusses the search of combination of Western and national traditions by Japanese artists. Familiarity with the new artistic language and intention to introduce it into the space of traditional ukiyo-e engraving became the basis for the masters of this period. Changes in the field of traditional genres are noted: instead of images of actors (yakusha-e), beauties (bijinga) and landscapes (fukeiga), there were appeared images of foreigners with their manners (yokohama-e), Japan’s modernization (kaika-e), as well as the battle genre (senso-e) dedicated to the events of the Japanese-Chinese (1894–1895) and Russian-Japanese (1904–1905) wars. These attempts to transform the national art allowed to form the ground for the creativity of young masters in the 20th century, who brought traditional engraving to a new level.

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Hashimoto, R. Y., E. S. K. Menon, and J. Fiorillo. "Analysis of Metallic Pigments Used in 19th Century Japanese Prints." Microscopy and Microanalysis 5, S2 (August 1999): 594–95. http://dx.doi.org/10.1017/s1431927600016299.

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Japanese color woodblock prints ("ukiyo-e") from the Edo (1615-1868) and Meiji periods (1868- 1912) are among the most celebrated examples of color printmaking in the world. Full-color prints became technically and commercially viable around 1765. Traditional ukiyo-e colorants were watersoluble, uniform, translucent, organic (vegetal) and inorganic pigments of very small particle size. (Synthetic colorants were also introduced from the West in the 19th C, probably beginning with "Prussian blue" in the 1820s.) A pigment was applied with a brush to a color block, and then rice flour paste was mixed with the pigment to thicken it, facilitate control and rubbing into the paper, improve the uniformity of the colorant, and avoid a dry or granular texture. The dampened paper, sized with cooked bovine skins and alum, was then placed on the block (aligning with registration marks cut into the blocks). The colorants were then pressed into the paper by rubbing a bamboo pad against the back of the paper so that the colors were absorbed on the front surface.

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Yi, Yuxi. "The Fusion of Japanese Zen Aesthetics and the Image of Machi-Man (Townspeople) – Reflections in Ukiyo-e and 19th Century Paris Montmartre Art." International Journal of Culture and History 10, no. 2 (October 13, 2023): 54. http://dx.doi.org/10.5296/ijch.v10i2.21383.

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The three core elements of Japanese Zen art aesthetics are mono no aware, yugen, and wabi-sabi, but these are only modern research interpretations of Zen art aesthetics. By tracing the roots of Rinzai Zen Buddhism from China, free from the written word, this paper finds that Zen Buddhism has influenced Japanese culture in both thought and life and has fused the cultural practices of the Japanese townspeople's society over time. Therefore, the article analyzes the connection between the Japanese Zen aesthetics and the culture of the Machi-man (townspeople). At the same time, the paper also argues that the relationship between Zen art aesthetics and the townspeople spread worldwide with the spread of ukiyo-e as an art form. This relationship is visualized in the form of case studies, including but not limited to the use of ukiyo-e artworks to substantiate this relationship and the analysis of the works of Toulouse-Lautrec to decipher how this relationship between aesthetics and townspeople has been learned in foreign lands.

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Ryee, MiLim. "A study on 《Northern Goshikisumi》 to Utamaro and his ukiyo-e." Center for Japanese Studies Chung-ang University 41 (May 31, 2016): 69. http://dx.doi.org/10.20404/jscau.2016.05.41.69.

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32

Bayou, Hélène. "Du Japon à l’Europe, changement de statut de l’estampe ukiyo-e." Arts asiatiques 66, no. 1 (2011): 155–76. http://dx.doi.org/10.3406/arasi.2011.1759.

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33

Hsu, H. L. "The Globalization of Perspective: Geography, Ukiyo-e, and American Realist Painting." Genre 36, no. 3-4 (January 1, 2003): 317–40. http://dx.doi.org/10.1215/00166928-36-3-4-317.

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Navarro Polo, Sergio. "La Colección de ukiyo-e del Museo del Cau Ferrat (Sitges)." Artigrama, no. 3 (December 9, 2022): 335–48. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.198637605.

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Bawin, Julie. "Le japonisme en Belgique. L'affiche Art nouveau et l'estampe ukiyo-e." Bulletin de la Classe des Beaux-Arts 14, no. 1 (2003): 47–69. http://dx.doi.org/10.3406/barb.2003.20786.

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Akihiro, Ozaki. "Meeting of Asia and the Netherlands: On Van Gogh’s Challenge in Emulating Rembrandt." Intercultural Relations 4, no. 2(8) (February 16, 2021): 37–51. http://dx.doi.org/10.12797/rm.02.2020.08.02.

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The essay grew out of an issue I had been pondering for some time and is an attempt to gain an insight into a secret Van Gogh was eager to discover while comparing himself as an artist with “Rembrandt, the magician”. Van Gogh was convinced that art could succeed where religion had failed. Moreover, there was no need for art to be directly connected with Christianity as a system. For Van Gogh, in this frame of mind, the art of “Japan”, as exemplified by the genre of ukiyo-e, and such like, provided hope. Rembrandt, too, saw oriental art not so much as art in itself but as a method of expressing one’s innermost feelings that were still lacking in European art, and that were, moreover, understood as a source of inspiration for the creation of a new, ideal form of human compassion. Similarly, Van Gogh's art was distilled into a more essential form of itself as his inspiration from the ukiyo-e genre gradually deepened and became more internalized. Therefore, this is something he shared with Rembrandt and related him more closely to the oriental art apparent in work of the Old Master.

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Yin, Huiyi. "Unveiling Cross-Cultural Hidden Nexus: An Analysis of Chinas Contribution to the Cultural Influence of the East on the West." Communications in Humanities Research 31, no. 1 (May 17, 2024): 105–14. http://dx.doi.org/10.54254/2753-7064/31/20231978.

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Even though the cultural communication between Japan and Europe is massively documented, such as the impact of ukiyo-e prints on Impressionism, Chinese culture's enormous contributions are overlooked. Ukiyo-e is often regarded as the primary source that influenced Impressionism from the East during the Meiji Restoration in the fin de sicle. The East's impact on the West is long-lasting rather than explosive. The critical power of traditional Chinese art and innovations, for example, the moveable type printing, over the evolution of European art movements has yet to be noticed due to political and geographic limitations. Citing paintings by Ma Yuan (1160-1225), Li Song ( active 1190-1230) and Wang Ximeng (1096-1119) in China, Katsushika Hokusai (1760-1849), Utagawa Kuniyoshi (1798- 1861), and Hiroshige (1797- 1858) in Japan, Vincent Van Gogh (1853- 1890) in the Netherlands, and Claude Monet (1840-1926) in France, among others, as examples of specific comparisons and cultural analyses, this article delves into the hidden connections and cultural exchanges, through working on the technical and iconographical forms from ancient China that shaped the European art in the epoch of high modernism.

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Almeida, Flavio. "Cultura visual japonesa: a intersecção entre arte e o design gráfico." ARS (São Paulo) 15, no. 29 (April 30, 2017): 146. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.122067.

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Neste artigo, será abordada a relação e as influências estéticas entre as artes tradicionais do Japão e a comunicação visual contemporânea, em especial o design gráfico japonês. A arte desenvolvida durante o período de isolamento do Japão tem notável influência na linguagem estética da comunicação comercial. Para investigar essa relação, a questão sobre a abordagem investigativa das artes e do design gráfico será problematizada para definir um caminho metodológico a ser seguido. Posteriormente, o desenvolvimento de três linguagens artísticas japonesas (ukiyo-e, sumie e rinpa) será contextualizada para criar análises e relações visuais com trabalhos na área do design gráfico japonês.

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Hammouri, Ali. "The Influence of Japanese Ukiyo Art on Henri Toulouse-Lautrec's Poster Designs in the Context of European Art." Dirasat: Human and Social Sciences 49, no. 6 (December 30, 2022): 38–49. http://dx.doi.org/10.35516/hum.v49i6:.3987.

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This research aimed to show The Influence of Japanese Ukiyo Art on Henri Toulouse-Lautrec's Poster Designs in the Context of European art, through selecting and analyzing five artistic poster works for the French artist Henri Toulouse-Lautrec as a case for the study. The researcher used the historical, survey and comparative methodology in his analyzing process, to reach the answer of the study hypothesis. The research sets up six criteria to show the influence of Japanese art on Lautrec works as abstract, simplicity, absence of shade and shadow, the absence of third dimension, flat shapes, bold flat color contrast and vivid flat colors in a new artistic European style, that have been influenced by the Japanese floating word (Ukiyo-e art). As a result, it is clearly seen as an evidence that the Ukiyo art had a major influence on European art and artists during between the 19th century and 20th century. Lautrec particular are enduring these art forms specially on Lautrec Posters Design which he performed in Paris. Researcher noticed a correspondingly sweeping change in Western art Japonisme was seen clearly among Henri Lautrec Posters as a preference for the theme matter, stylishness, and imitating of Japanese art, especially abstract, simplicity, absence of shade and shadow, the absence of third dimension, flat shapes and vivid flat colors in woodblock prints, and a bold flat color contrast, as he also moved toward abstraction to bare bones away of impressionism in his designed poster done in Montmartre area in Paris.

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Żeromska, Estera. "Kobieta i kobiecość w oparach ulotnego świata (ukiyo), czyli na pograniczu świata i artystycznej ułudy (na przykładzie teatru kabuki i drzeworytu ukiyo-e)." Porównania 12 (December 2, 2013): 225. http://dx.doi.org/10.14746/p.2013.12.11073.

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Junsop Lee. "A Study on the Information Power of Ukiyo-e and its Traces." Journal of the society of Japanese Language and Literature, Japanology ll, no. 80 (February 2018): 485–504. http://dx.doi.org/10.21792/trijpn.2018..80.024.

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Edgren, J. S. "Late-Ming Erotic Book Illustrations and the Origins of Ukiyo-e Prints." Arts asiatiques 66, no. 1 (2011): 117–34. http://dx.doi.org/10.3406/arasi.2011.1757.

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Miura, Kayo, and Motoko Koike. "Judgment, interpretation and impression of gaze direction in an Ukiyo-e picture1,2." Japanese Psychological Research 45, no. 4 (September 15, 2003): 209–20. http://dx.doi.org/10.1111/1468-5884.00224.

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Lee, Valérie, Nobuyuki Kamba, Yuko Tsuchiya, and Huan-Shen Lin. "A new approach to the conservation and presentation of ukiyo-e prints." Journal of the Institute of Conservation 36, no. 2 (September 2013): 186–94. http://dx.doi.org/10.1080/19455224.2013.828632.

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Davis, Julie Nelson. "The trouble with Hideyoshi: censoring ukiyo-e and theEhon Taikōkiincident of 1804." Japan Forum 19, no. 3 (September 28, 2007): 281–315. http://dx.doi.org/10.1080/09555800701579933.

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Ryee, Mi-Lim. "A Study on the Diversity and New Attempts of Kuniyoshi Ukiyo-e." Journal of Multi-Cultural Contents Studies 46 (December 31, 2023): 283–306. http://dx.doi.org/10.15400/mccs.2023.12.46.11.

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손정아. "Some Thoughts on the Utagawa Kuniyoshi’s Ukiyo-e and Picture Books (E-hon) for Children." Journal of the society of Japanese Language and Literature, Japanology ll, no. 81 (May 2018): 381–402. http://dx.doi.org/10.21792/trijpn.2018..81.020.

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KOLTSOVA, DARYA. "Maximilian Voloshin’s japanese print collection in the context of european orientalism." Journal of Education Culture and Society 4, no. 2 (January 10, 2020): 316–24. http://dx.doi.org/10.15503/jecs20132.316.324.

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The paper is concerned with Maksimilian Voloshin’s Japanese woodblock print collec-tion. It starts with a short historical sketch of Orientalism in Europe and Russia, illustrating various highlights and the evolution of the image of the East in the minds of Europeans, and designed so that the emergence of Voloshin’s interest in Japanese art and his activity of collecting Ukiyo-e prints can be considered in the context of European Orientalism.

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Delank, Claudia. "The Painters of the Blaue Reiter and Japan." Journal of Japonisme 5, no. 1 (December 18, 2019): 71–91. http://dx.doi.org/10.1163/24054992-00051p03.

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Abstract Japonisme, like today’s Japanese pop culture, is a transcultural phenomenon. In the ‘classical phase of Japonisme’ individual artists were influenced by Japanese art (especially by ukiyo-e woodblock prints) and transcended thematic and compositional adaption: the confrontation with Japanese art sparked a creative process and led to new developments in art. Japonisme became not only an important medium in the development of modern western art, but also attested a cultural transcendence.

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Kim, Jinju. "The Perspective of the Late Chŏson Period about Japanese Painting of Beauty: Court Lady Playing a String Instrument from the Sŏngnong hwawŏn." Korean Journal of Art History 318 (June 30, 2023): 71–102. http://dx.doi.org/10.31065/kjah.318.202306.003.

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The <i>Court Lady Playing a String Instrument</i> (采女摘阮圖) is the Japanese painting of beauty that Kim Kwangguk (金光國, 1727–1797), a prominent aficionado of painting and calligraphy of the late Chosŏn period, collected and compiled in his album, <i>Sŏngnong hwawŏn</i> (石農畵苑, Album of Paintings Collected by Kim Kwangguk). Based on the facial features, garment, and hair style of the figures, this <i>ukiyo-e</i> (浮世繪) beauty painting is dated to the early eighteenth century when the <i>ukiyo-e</i> genre was still in the early stage of its development. It is likely that the painting came into Kim’s possession through the merchants specialized in painting and calligraphy, who were integral to the thriving trade network between Chŏson dynasty and Tokugawa shogunate at the time. The significance of this <i>Court Lady Playing a String Instrument</i> lies in the fact that not only is it the sole surviving Japanese painting from Kim’s collection, but also the single extant example of the <i>ukiyo-e</i> works that circulated in the Chosŏn period.</br>In light of this uniqueness of the Japanese painting of beauty collected by a Chosŏn literatus, this study seeks to understand the way Kim appreciated the painting as its collector. He appraised it as a Japanese painting that did “not manifest any hint of excellence for which Japanese artists were known in the world.” And he assigned the title “court lady playing a string instrument” to the painting that was in fact a depiction of the postures of courtesans. It was a projection of both his deep-seated sense of cultural superiority over Japan and his passionate emotion toward the painting of beauty. Kim’s complex perspective on the <u>Court Lady Playing a String Instrument</i> like this represents the late Chŏson literati’s perception of the Japanese painting and the painting of beauty.

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