The Ornamental Arts Of Japan Vol 1 Classic Reprint

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Publisher : Forgotten Books
ISBN 13 : 9780265607596
Total Pages : 30 pages
Book Rating : 4.6/5 (75 download)

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Download or read book Arts and Artists Japanese, Vol. 1 (Classic Reprint) written by and published by Forgotten Books. This book was released on 2017-10-22 with total page 30 pages. Available in PDF, EPUB and Kindle. Book excerpt: Excerpt from Arts and Artists Japanese, Vol. 1 N ow Ukiyoe is that form of pictorial art which portrays, with always a faithful eye on nature, the democratic phase of society and whose artists are oi' the class which he paints. In the years of Keicho period (1596-1614 A. There was a painter whose name was Iwasa Matahei. He gave us the pictorial history of a certain phase of society of those days. The people admired his skill and called his piétures Ukiyoe. Originally Matahei took very studiously to the study of Tosa school. It was in those days when the Kano school was in favor with the Sbogun. And Matahei naturally adopted the methods of both the Tosa and the Kano, and, like so many other masters of the pictorial art of Nippon, he, too, followed the ecleétic method and tried to unite the merits of all the schools ih' which he had studied. Because he could not very well help him self from giving the virtues which were all of his own brush, he added to the elegance and chaste beauty ofline which were thetosa's and, the Kano's, the harmony of composition and the distinc tion of taste that were all of his own. The result was the creation of an entirely new school. After him came Hishikawa Moronobu out of Tosa school, and Hanabusa Itcho from the'kanoh Both of these men followed in a way the motif of Matahei, and painted the popular life of their times. Naturally their work resulted in the jportraiture of the popular life of Yedo, and the piétorial art which had been to speak, and people of all ranks have come to enjoy the entertaining fruit thereof. Was the beginning of the golden age for the Ukiyoe and the Ukiyoe painters. In p'eriod 1681-1683 A. D.) wood engravmg came into vogue. Black and white single were produced in large numbers. Hishikawa Moronobu, Huruyama Moroshige, ' and painted for the woodcuts. After the Genroku (1688-1703 A. D.) they colored the reddish orange, and called them the tan prints Torii Kiyonobu and Kiyor'nasu the prints. A little later they mixed a kind of certam varnish, and also they used gold paint and called them lacquer Masanobu, Nishimura Shigenaga, and others have painted these prints. In 1735 A. D. They began the polychrome prints with their woodcuts for the first time, and the prints thus produced were called rose prints. A little later than 1764 A. D., an engraver by the name of Kinroku, for the first time, produced prints which passed through four and fi% impressions, and Suzuki Harunobu, Seki Kiyonaga (who changed his family name to Torii M when he was adopted by the Torii family), and others have painted for this type of prints. And 1 because these prints were exceedingly fair to the eye and attractive, the people of the time called them Nislzilez'e, which means Brocade Pictures. And the names of Torii, Katsukawa, Kita kawa, Utakawa, and a few others, have carried the fame of the Yedo brocade pictures all over Nippon. Although in the opening years of the eighteenth century, others who were in Kyoto, were trying to cope with the artists did not succeed in outshining them, and from that day on, the brocade prints of Yedo of the famous products of that city. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.