Hishikawa Moronobu from 12 Scenes (late 17th century)
Ukiyo-eJaran’s popular woodblosk color is known worldwide and famous. I These highly interesting scenes make up their own genre. And an exhibition dedicated to them took place for the first time in their country of origin. ChungaCurrently on display at Tokyo’s Eisei-Bunko Museum, there are 133 works displayed through two interchangeable works. It has a lot to do with the family names Katsushika Hokusai and Utagawa Kuniyoshi.
Utagawa Kunikiyoshi, “The Calendar of Flowers (Hana-goyomi)” (1835) (International Research Center for Japanese Studies)
Nozawa Teiu “The Handshake of Secret Love (Higigi Zukan)”
Keisaii Eisen, “The Grim Vision of the Story of Genji (Abuna-e Genji monogatari)” (1822).
The exhibition was held at Score by only one other show. It was held at the British Museum in 2013 and attracted nearly 90,000 visitors in three months. Nearly half of the exhibits at Eisei Bunko come from the British Museum. The rest is on loan from the Jaranes Museum and others. Oren starts mid-September. ChungaAs well, it is attractive to many that the organizers have been reported to be crowded with 20-30 minute waits, explaining the orderliness of the event. Their highly natural appearance is the main reason behind their limited exhibits in museums such as Jaran today Huge sponsorship search record I Trade shows are difficult. And trade fair organizers are always very concerned about trade fairs. Ten establishments declined host requests. Chunga Before Eisei-Bunko its space was presented and its exhibits were limited to museum visitors 18 and older (the British Museum recommends a rare guideline for those under 16).
Anonymous artist Chusingura picture calendar (1822) (click to enlarge)
These works were once banned by the Japanese government, who enacted a law in 1722 that banned their production during most of the Edo period. Of course, they still make an appearance – often unsigned – and are widely publicized in Jarran, although Westerners often regard them as a рornograrahіс
As Tim Clark, curator of the British Museum, explains, it is possible that “everyone in Jaranes was well. From the ruling class to ordinary townspeople road use and enjoy IThis is an unlikely situation in Europe at the same time. in the west We encounter a tight divide between what we define as art on the one hand and what we declare obscene or graphic on the other.”
Although the work is really graphic, it reflects the same art and technique of lesser talents. Ukiyo-eThe relationship between making love is expressed in bold and colorful outlines. And the clothes and blankets they lifted playfully were often adorned with so much beauty, so full, the attention was not lost. Regardless, it details the location where such aspirational scenes take place. One of Hishikawa Moronobu’s samurai works. (Identifiable by his sword) embraced by his broad-legged lover. There’s also a wall feature for grinning tigers and four Bambos on the tree; Another by Suzuki Harunobu includes in its background a black skin can be on board with butterflies flying over a bonsai tree. Next to the two connected numbers are Oren and a notebook. It suggests that the vignette is part of a larger narrative.
Suzuki Harunobu, “Cotton Picker (Watatsumi Onna)”
lots I The story is almost completely conveyed in a series of scenes that grow in intensity. It is regarded as one of the genre’s masterpieces. Kitagawa Utamaro’s 1788 “Poetry of Pillows” contains 12 illustrations in one album. One very detailed scene shows a couple in an upstairs room of a teahouse. wrapped in fragile cloth as they embraced each other You can see the glimpse of your ideal man by defining the features of a woman who resolutely turns away from use. It’s a fairly good moment that makes us aware of our voyeurism, but Utamaro includes one piece of advice the couple is well aware of from the audience: the guy breaks up with his girlfriend. It’s ROM written. on its fold Its beak can be held firmly in its roar. Snipers can’t fly away on an autumn evening.it reads
while I Happens mostly like Ukiyo-eSome images are also hand drawn on scrolls, such as Torii Kikiyonagaa’s “Handscroll for the Sleeve” in 1785. The long, narrow scroll allows the owner to roll up all 11 images and store them in the sleeve to carry around. Around, according to Clark, as well as Utamaro’s illustration, Kikiyonaga is also an example. I Capture moments of intimacy as much as In one scene, a couple stares intensely into each other’s eyes. The drama of the moment is emphasized by the close cross section. Man putting his finger to his mouth indicates the happiness that his lover will soon receive, which “gives a true idea of the togetherness of I — How is happiness for a woman the same as happiness for a man?” as Clark said.
The inked script also fills the background of some parts of the chart. The iteration of interactions, which also reveals this synergy, Probably one of the best known examples of I is Hokusai’s “Dream of a Fisherman’s Wife” (1814), which depicts two plots of play and Mother Diver. The text surrounding the trio conveys their happiness – but it’s clear that the idealism is more feminine than Ceralorad. This scene was definitely unbeatable. but its absurdity shows that I Not only enjoyed because of their wonderful nature. But also with a sense of humor.
Kitagawa Utamaro, “Lovers in the Upstairs Room” from The Pillow Poem (Utam Makura) (1788).
Torii Giyonaga, “Handscroll for Armbands (Sode no Maki)” (1785) (International Research Center for the Study of Japanese Language)
Katsushika Hokusai, “Dream of a Fisherman’s Wife (Kinoe no komatsu)” (1814) (Uragami Mitsuru collection)
Suzuki Harunobu “Enjoy the evening (Yu Suzuki)”