Editing Ukiyo-e (section)

==History==

===Pre-history===

Japanese art since the [[Heian period]] (794–1185) had followed two principal paths: the nativist {{transliteration|ja|[[Yamato-e]]}} tradition, focusing on Japanese themes, best known by the works of the [[Tosa school]]; and Chinese-inspired {{transliteration|ja|kara-e}} in a variety of styles, such as the monochromatic [[ink wash painting]]s of [[Sesshū Tōyō]] and his disciples. The [[Kanō school]] of painting incorporated features of both.{{sfn|Lane|1962|pp=8–9}}

Since antiquity, Japanese art had found patrons in the aristocracy, military governments, and religious authorities.{{sfn|Kobayashi|1997|p=66}} Until the 16th century, the lives of the common people had not been a main subject of painting, and even when they were included, the works were luxury items made for the ruling [[samurai]] and rich merchant classes.{{sfn|Kobayashi|1997|pp=66–67}} Later works appeared by and for townspeople, including inexpensive monochromatic paintings of female beauties and scenes of the theatre and pleasure districts. The hand-produced nature of these {{nihongo||仕込絵|shikomi-e}} limited the scale of their production, a limit that was soon overcome by genres that turned to mass-produced [[woodblock printing]].{{sfn|Kobayashi|1997|pp=67–68}}

[[File:Kano Hideyori - Maple Viewers - Google Art Project.jpg|thumb|center|upright=3|alt=A painted screen of six panels depicting a park-like setting in which visitors enjoy the scenery.|''Maple Viewing at Takao'' (mid-16th century) by [[Kanō Hideyori]] is one of the earliest Japanese paintings to feature the lives of the common people.{{sfn|Kobayashi|1997|p=66}}]]

During a [[Sengoku period|prolonged period of civil war]] in the 16th century, a class of politically powerful merchants developed. These {{interlanguage link|Machishū|ja|町衆|lt={{transliteration|ja|machishū}}}}, the predecessors of the [[Edo period]]'s {{transliteration|ja|[[chōnin]]}}, allied themselves with the court and had power over local communities; their patronage of the arts encouraged a revival in the classical arts in the late 16th and early 17th centuries.{{sfn|Kita|1984|pp=252–253}} In the early 17th century, [[Tokugawa Ieyasu]] (1543–1616) unified the country and was appointed [[shōgun]] with supreme power over Japan. He consolidated [[Tokugawa shogunate|his government]] in the village of [[Edo (Tokyo)|Edo]] (modern Tokyo),{{sfn|Penkoff|1964|pp=4–5}} and required the [[Daimyō|territorial lords]] to [[Sankin-kōtai|assemble there in alternate years]] with their entourages. The demands of the growing capital drew many male labourers from the country, so that males came to make up nearly seventy percent of the population.{{sfn|Marks|2012|p=17}} The village grew during the Edo period (1603–1867) from a population of 1800 to over a million in the 19th century.{{sfn|Penkoff|1964|pp=4–5}}

The centralized shogunate put an end to the power of the {{transliteration|ja|machishū}} and divided the population into [[Four occupations|four social classes]], with the ruling samurai class at the top and the merchant class at the bottom. While deprived of their political influence,{{sfn|Kita|1984|pp=252–253}} those of the merchant class most benefited from the rapidly expanding economy of the Edo period,{{sfn|Singer|1986|p=66}} and their improved lot allowed for leisure that many sought in the pleasure districts—in particular [[Yoshiwara]] in Edo{{sfn|Penkoff|1964|pp=4–5}}—and collecting artworks to decorate their homes, which in earlier times had been well beyond their financial means.{{sfn|Penkoff|1964|p=6}} The experience of the pleasure quarters was open to those of sufficient wealth, manners, and education.{{sfn|Bell|2004|p=137}}

[[File:Tokugawa Ieyasu2.JPG|thumb|alt=Painting of a mediaeval Asian man seated and dressed in splendour|[[Tokugawa Ieyasu]] established his government in the early 17th century in Edo (modern Tokyo).{{pb}}''Portrait of Tokugawa Ieyasu'', Kanō school painting, [[Kanō Tan'yū]], 17th century]]

[[Woodblock printing in Japan]] traces back to the {{transliteration|ja|[[Hyakumantō Darani]]}} in 770&nbsp;CE. Until the 17th century, such printing was reserved for Buddhist seals and images.{{sfn|Kobayashi|1997|p=68}} [[Movable type]] appeared around 1600, but as the [[Japanese writing system]] required about 100,000 type pieces,{{efn|Many of these type pieces were repeat characters; as certain characters were used multiple times on the same page, multiples of these characters needed to be available to the printer.}} hand-carving text onto woodblocks was more efficient. In {{Interlanguage link|Saga, Kyoto|ja|3=嵯峨野}}, calligrapher [[Hon'ami Kōetsu]] and publisher {{Interlanguage link|Suminokura Soan|ja|3=角倉素庵}} combined printed text and images in an adaptation of ''[[The Tales of Ise]]'' (1608) and other works of literature.{{sfn|Harris|2011|p=37}} During the [[Kan'ei]] era (1624–1643) illustrated books of folk tales called {{transliteration|ja|tanrokubon}} ('orange-green books') were the first books mass-produced using woodblock printing.{{sfn|Kobayashi|1997|p=68}} Woodblock imagery continued to evolve as illustrations to the {{transliteration|ja|[[kanazōshi]]}} genre of tales of hedonistic urban life in the new capital.{{sfn|Kobayashi|1997|p=69}} The rebuilding of Edo following the [[Great Fire of Meireki]] in 1657 occasioned a modernization of the city, and the publication of illustrated printed books flourished in the rapidly urbanizing environment.{{sfn|Kobayashi|1997|pp=69–70}}

The term {{nihongo||浮世|ukiyo}}, which can be translated as 'floating world', was [[Homophone|homophonous]] with the ancient Buddhist term {{nihongo||憂き世|ukiyo}}, meaning 'this world of sorrow and grief'. The newer term at times was used to mean 'erotic' or 'stylish', among other meanings, and came to describe the hedonistic spirit of the time for the lower classes. [[Asai Ryōi]] celebrated this spirit in the novel {{transliteration|ja|Ukiyo Monogatari}} (''Tales of the Floating World'', {{circa|1661}}):{{sfn|Hickman|1978|pp=5–6}}

{{blockquote
|text = [L]iving only for the moment, savouring the moon, the snow, the cherry blossoms, and the maple leaves, singing songs, drinking sake, and diverting oneself just in floating, unconcerned by the prospect of imminent poverty, buoyant and carefree, like a gourd carried along with the river current: this is what we call {{transliteration|ja|ukiyo}}.}}

===Emergence of ukiyo-e (late 17th&nbsp;– early 18th centuries)===

The earliest ukiyo-e artists came from the world of [[Japanese painting]].{{sfn|Kikuchi|Kenny|1969|p=31}} {{transliteration|ja|Yamato-e}} painting of the 17th century had developed a style of outlined forms which allowed inks to be dripped on a wet surface and spread out towards the outlines—this outlining of forms was to become the dominant style of ukiyo-e.{{sfn|Kita|2011|p=155}}

[[File:Hikone Screen.jpg|thumb|center|upright=3|alt=A folding screen painted with Japanese figures at play against a gold background|The [[Hikone screen]] may be the oldest surviving ukiyo-e work, dating to {{circa|1624–1644}}.]]

Around 1661, painted [[Kakemono|hanging scrolls]] known as ''Portraits of Kanbun Beauties'' gained popularity. The paintings of the [[Kanbun (era)|Kanbun era]] (1661–1673), most of which are anonymous, marked the beginnings of ukiyo-e as an independent school.{{sfn|Kikuchi|Kenny|1969|p=31}} The paintings of [[Iwasa Matabei]] (1578–1650) have a great affinity with ukiyo-e paintings. Scholars disagree whether Matabei's work itself is ukiyo-e;{{sfn|Kita|1999|p=39}} assertions that he was the genre's founder are especially common amongst Japanese researchers.{{sfn|Kita|2011|pp=149, 154–155}} At times Matabei has been credited as the artist of the unsigned [[Hikone screen]],{{sfn|Kita|1999|pp=44–45}} a {{transliteration|ja|[[byōbu]]}} folding screen that may be one of the earliest surviving ukiyo-e works. The screen is in a refined Kanō style and depicts contemporary life, rather than the prescribed subjects of the painterly schools.{{sfn|Yashiro|1958|pp=216, 218}}

[[File:Moronobu b-w shunga.jpg|left|thumb|alt=A black-and-white illustration of a pair of lovers in splendid dress at play|Early woodblock print, [[Hishikawa Moronobu]], late 1670s or early 1680s]]<!-- there is a really nice coloured version of this print on Commons. Please don't replace this one with it, as there are few monochrome prints in the article. -->

In response to the increasing demand for ukiyo-e works, [[Hishikawa Moronobu]] (1618–1694) produced the first ukiyo-e woodblock prints.{{sfn|Kikuchi|Kenny|1969|p=31}} By 1672, Moronobu's success was such that he began to sign his work—the first of the book illustrators to do so. He was a prolific illustrator who worked in a wide variety of genres, and developed an influential style of portraying female beauties. Most significantly, he began to produce illustrations, not just for books, but as single-sheet images, which could stand alone or be used as part of a series. The Hishikawa school attracted a large number of followers,{{sfn|Kobayashi|1997|pp=70–71}} as well as imitators such as [[Sugimura Jihei]],{{sfn|Kobayashi|1997|pp=71–72}} and signalled the beginning of the popularization of a new artform.{{sfn|Kobayashi|1997|p=71}}

[[Torii Kiyonobu&nbsp;I]] and [[Kaigetsudō Ando]] became prominent emulators of Moronobu's style following the master's death, though neither was a member of the Hishikawa school. Both discarded background detail in favour of focus on the human figure—kabuki actors in the {{transliteration|ja|[[yakusha-e]]}} of Kiyonobu and the [[Torii school]] that followed him,{{sfn|Kobayashi|1997|pp=72–73}} and courtesans in the {{transliteration|ja|[[bijin-ga]]}} of Ando and his [[Kaigetsudō school]]. Ando and his followers produced a stereotyped female image whose design and pose lent itself to effective mass production,{{sfn|Kobayashi|1997|pp=72–74}} and its popularity created a demand for paintings that other artists and schools took advantage of.{{sfn|Kobayashi|1997|pp=75–76}} The Kaigetsudō school and its popular "Kaigetsudō beauty" ended after Ando's exile over his role in the [[Ejima-Ikushima affair|Ejima-Ikushima scandal]] of 1714.{{sfn|Kobayashi|1997|pp=74–75}}

Kyoto native [[Nishikawa Sukenobu]] (1671–1750) painted technically refined pictures of courtesans.{{sfn|Noma|1966|p=188}} Considered a master of erotic portraits, he was the subject of a government ban in 1722, though it is believed he continued to create works that circulated under different names.{{sfn|Hibbett|2001|p=69}} Sukenobu spent most of his career in Edo, and his influence was considerable in both the [[Kantō region|Kantō]] and [[Kansai region]]s.{{sfn|Noma|1966|p=188}} The paintings of [[Miyagawa Chōshun]] (1683–1752) portrayed early 18th-century life in delicate colours. Chōshun made no prints.{{sfn|Munsterberg|1957|p=154}} The [[Miyagawa school]] he founded in the early-18th century specialized in romantic paintings in a style more refined in line and colour than the Kaigetsudō school. Chōshun allowed greater expressive freedom in his adherents, a group that later included [[Hokusai]].{{sfn|Kobayashi|1997|pp=75–76}}

<gallery caption="Early ukiyo-e masters" mode="packed" heights="230px">
File:Kaigetsudo Ando - Standing Portrait of a Courtesan, c. 1705-1710, Hanging scroll; ink, color and gold on paper.jpg|Standing portrait of a courtesan{{pb}}Ink and colour painting on silk, [[Kaigetsudō Ando]], {{circa|1705–10}}
<!-- Kaigetsudo Bijin-attendant-1710.jpg|{{transliteration|ja|[[Bijin-ga|Bijin]]}} ''and attendant''{{pb}}Ink and colour painting on silk, [[Kaigetsudō Ando]], 1710 -->
KIYONOBU-Yamanaka-Ichikawa-1714.jpg|Portrait of actors{{pb}}Hand-coloured print{{pb}}[[Torii Kiyonobu I|Kiyonobu]], 1714
Nishikawa Sukenobu, 1739, Ehon Asakayama,16 gris.jpg|Printed page from {{transliteration|ja|Asakayama E-hon}}{{pb}}[[Nishikawa Sukenobu|Sukenobu]], 1739
Ryukyuan Dancer and Musicians by Miyagawa Choshun, c. 1718.jpg|''Ryukyuan Dancer and Musicians''{{pb}}Ink and color painting on silk, [[Miyagawa Chōshun|Chōshun]], {{circa|1718}}
</gallery>

===Colour prints (mid-18th century)===

Even in the earliest monochromatic prints and books, colour was added by hand for special commissions. Demand for colour in the early-18th century was met with {{transliteration|ja|tan-e}}{{efn|{{nihongo||丹|tan}}: a pigment made from red lead mixed with sulphur and [[Niter|saltpetre]]{{sfn|Kobayashi|1997|p=76}} }} prints hand-tinted with orange and sometimes green or yellow.{{sfn|Kobayashi|1997|pp=76–77}} These were followed in the 1720s with a vogue for pink-tinted {{transliteration|ja|beni-e}}{{efn|{{Nihongo||紅|beni}}: a pigment produced from [[safflower]] petals.{{sfn|Kobayashi|1997|p=77}}}} and later the lacquer-like ink of the {{transliteration|ja|[[urushi-e]]}}. In 1744, the {{transliteration|ja|[[benizuri-e]]}} were the first successes in colour printing, using multiple woodblocks—one for each colour, the earliest {{transliteration|ja|beni}} pink and vegetable green.{{sfn|Kobayashi|1997|p=77}}

[[File:Okumura Masanobu - Taking the Evening Cool by Ryōgoku Bridge.png|thumb|left|Western-style [[perspective (graphical)|graphical perspective]] and increased use of printed colour were amongst the innovations [[Okumura Masanobu]] claimed.{{pb}}''Taking the Evening Cool by Ryōgoku Bridge'', {{circa|1745}}]]

A great self-promoter, [[Okumura Masanobu]] (1686–1764) played a major role during the period of rapid technical development in printing from the late 17th to mid-18th centuries.{{sfn|Kobayashi|1997|p=77}} He established a shop in 1707{{sfn|Penkoff|1964|p=16}} and combined elements of the leading contemporary schools in a wide array of genres, though Masanobu himself belonged to no school. Amongst the innovations in his romantic, lyrical images were the introduction of [[geometrical perspective]] in the {{transliteration|ja|[[uki-e]]}} genre{{efn|{{Interlanguage link|Torii Kiyotada|ja|3=鳥居清忠}} is said to have made the first {{transliteration|ja|uki-e}};{{sfn|King|2010|p=47}} Masanobu advertised himself as its innovator.{{sfn|Kobayashi|1997|p=78}}{{pb}}''A Layman's Explanation of the Rules of Drawing with a Compass and Ruler'' introduced Western-style geometrical perspective drawing to Japan in the 1734, based on a Dutch text of 1644 (see [[Rangaku]], "Dutch learning" during the Edo period); Chinese texts on the subject also appeared during the decade.{{sfn|King|2010|p=47}}{{pb}}Okumura likely learned about geometrical perspective from Chinese sources, some of which bear a striking resemblance to Okumura's works.{{sfn|Suwa|1998|pp=64–68}} }} in the 1740s;{{sfn|Suwa|1998|p=64}} the long, narrow {{transliteration|ja|[[hashira-e]]}} prints; and the combination of graphics and literature in prints that included self-penned [[haiku]] poetry.{{sfn|Kobayashi|1997|pp=77–79}}

Ukiyo-e reached a peak in the late 18th century with the advent of full-colour prints, developed after Edo returned to prosperity under [[Tanuma Okitsugu]] following a long depression.{{sfn|Kobayashi|1997|pp=80–81}} These popular colour prints came to be called {{transliteration|ja|nishiki-e}}, or 'brocade pictures', as their brilliant colours seemed to bear resemblance to imported Chinese Shuchiang [[brocade]]s, known in Japanese as {{transliteration|ja|Shokkō nishiki}}.{{sfn|Kobayashi|1997|p=82}} The first to emerge were expensive calendar prints, printed with multiple blocks on very fine (or finer than standard) paper with heavy, opaque inks. These prints had the number of days for each month hidden in the design, and were sent at the New Year{{efn|Until 1873 the [[Japanese calendar]] was [[Lunisolar calendar|lunisolar]], and each year the [[Japanese New Year]] fell on different days of the [[Gregorian calendar]]'s January or February.}} as personalized greetings, bearing the name of the patron rather than the artist. The blocks for these prints were later re-used for commercial production, obliterating the patron's name and replacing it with that of the artist.{{sfn|Lane|1962|pp=150, 152}}

The delicate, romantic prints of [[Suzuki Harunobu]] (1725–1770) were amongst the first to realize expressive and complex colour designs,{{sfn|Kobayashi|1997|p=81}} printed with up to a dozen separate blocks to handle the different colours{{sfn|Michener|1959|p=89}} and half-tones.{{sfn|Munsterberg|1957|p=155}} His restrained, graceful prints invoked the classicism of {{transliteration|ja|[[waka (poetry)|waka]]}} poetry and {{transliteration|ja|Yamato-e}} painting. The prolific Harunobu was the dominant ukiyo-e artist of his time.{{sfn|Kobayashi|1997|pp=82–83}} The success of Harunobu's colourful {{transliteration|ja|nishiki-e}} from 1765 on led to a steep decline in demand for the limited palettes of {{transliteration|ja|benizuri-e}} and {{transliteration|ja|urushi-e}}, as well as hand-coloured prints.{{sfn|Michener|1959|p=89}}

A trend against the idealism of the prints of Harunobu and the Torii school grew following Harunobu's death in 1770. [[Katsukawa Shunshō]] (1726–1793) and [[Katsukawa school|his school]] produced portraits of kabuki actors with greater fidelity to the actors' actual features than had been the trend.{{sfn|Kobayashi|1997|p=83}} Sometime-collaborators [[Koryūsai]] (1735&nbsp;– {{circa|1790}}) and [[Kitao Shigemasa]] (1739–1820) were prominent depicters of women who also moved ukiyo-e away from the dominance of Harunobu's idealism by focusing on contemporary urban fashions and celebrated real-world courtesans and [[geisha]].{{sfn|Kobayashi|1997|pp=84–85}} Koryūsai was perhaps the most prolific ukiyo-e artist of the 18th century, and produced a larger number of paintings and print series than any predecessor.{{sfn|Hockley|2003|p=3}} The [[Kitao school]] that Shigemasa founded was one of the dominant schools of the closing decades of the 18th century.{{sfn|Kobayashi|1997|p=85}}

In the 1770s, [[Utagawa Toyoharu]] produced a number of {{transliteration|ja|uki-e}} perspective prints{{sfn|Marks|2012|p=68}} that demonstrated a mastery of Western perspective techniques that had eluded his predecessors in the genre.{{sfn|King|2010|p=47}} Toyoharu's works helped pioneer the landscape as an ukiyo-e subject, rather than merely a background for human figures.{{sfnm|1a1=Stewart|1y=1922|1p=224|2a1=Neuer|2a2=Libertson|2a3=Yoshida|2y=1990|2p=259}} In the 19th century, Western-style perspective techniques were absorbed into Japanese artistic culture, and deployed in the refined landscapes of such artists as [[Hokusai]] and [[Hiroshige]],{{sfn|Thompson|1986|p=44}} the latter a member of the [[Utagawa school]] that Toyoharu founded. This school was to become one of the most influential,{{sfn|Salter|2006|p=204}} and produced works in a far greater variety of genres than any other school.{{sfn|Bell|2004|p=105}}

<gallery caption="Early colour ukiyo-e" mode="packed" heights="230px">
Two Lovers Beneath an Umbrella in the Snow.jpg|''Two Lovers Beneath an Umbrella in the Snow''{{pb}}[[Suzuki Harunobu|Harunobu]], {{circa|1767}}
Acteur kabuki Katsukawa.jpg|''Arashi Otohachi as Ippon Saemon''{{pb}}[[Katsukawa Shunshō|Shunshō]], 1768
Koryūsai - Hinazuru of the Chōjiya, Kamuro Yasoji and Yasono, Shinzō Orizuru, Kiyotsuru, and Sayotsuru.jpg|''Hinazuru of the Chōjiya''{{pb}}[[Koryūsai]], {{circa|1778–80}}
Kitao Shigemasa (1777) Geisha and a servant carrying her shamisen box.jpg|''Geisha and a servant carrying her'' {{transliteration|ja|shamisen}} ''box''{{pb}}[[Kitao Shigemasa|Shigemasa]], 1777
Toshi-ya 00.jpg|''Perspective Pictures of Places in Japan: [[Sanjūsangen-dō]] in Kyoto''{{pb}}[[Utagawa Toyoharu|Toyoharu]], {{circa|1772–1781}}
</gallery>

===Peak period (late 18th century)===

[[File:Kitagawa Utamaro - Two Beauties with Bamboo - Google Art Project.jpg|thumb|alt=A colour print of a close-up of the head and upper torso of a finely dressed Japanese woman. Behind her is a bamboo screen on which is depicted a similar woman's head and upper torso.|''Two Beauties with Bamboo''{{pb}}[[Utamaro]], {{circa|1795}}]]

While the late 18th century saw hard economic times,{{sfn|Neuer|Libertson|Yoshida|1990|p=145}} ukiyo-e saw a peak in quantity and quality of works, particularly during the [[Kansei]] era (1789–1791).{{sfn|Kobayashi|1997|p=91}} The ukiyo-e of the period of the [[Kansei Reforms]] brought about a focus on beauty and harmony{{sfn|Kobayashi|1997|p=85}} that collapsed into decadence and disharmony in the next century as the reforms broke down and tensions rose, culminating in the [[Meiji Restoration]] of 1868.{{sfn|Kobayashi|1997|p=91}}

Especially in the 1780s, [[Torii Kiyonaga]] (1752–1815){{sfn|Kobayashi|1997|p=85}} of the Torii school{{sfn|Kobayashi|1997|p=91}} depicted traditional ukiyo-e subjects like beauties and urban scenes, which he printed on large sheets of paper, often as multiprint horizontal [[diptych]]s or [[triptych]]s. His works dispensed with the poetic dreamscapes made by Harunobu, opting instead for realistic depictions of idealized female forms dressed in the latest fashions and posed in scenic locations.{{sfn|Kobayashi|1997|pp=85–86}} He also produced portraits of kabuki actors in a realistic style that included accompanying musicians and chorus.{{sfn|Kobayashi|1997|p=87}}

A law went into effect in 1790 requiring prints to bear a censor's seal of approval to be sold. Censorship increased in strictness over the following decades, and violators could receive harsh punishments. From 1799 even preliminary drafts required approval.{{sfn|Michener|1954|p=231}} A group of Utagawa-school offenders including [[Utagawa Toyokuni|Toyokuni]] had their works repressed in 1801, and [[Utamaro]] was imprisoned in 1804 for making prints of 16th-century political and military leader<!-- the source calls him "Shogun", but Hideyoshi was never appointed shogun --> [[Toyotomi Hideyoshi]].{{sfn|Lane|1962|p=224}}

Utamaro ({{circa|1753}}–1806) made his name in the 1790s with his {{transliteration|ja|bijin ōkubi-e}} ('large-headed pictures of beautiful women') portraits, focusing on the head and upper torso, a style others had previously employed in portraits of kabuki actors.{{sfn|Kobayashi|1997|pp=87–88}} Utamaro experimented with line, colour, and printing techniques to bring out subtle differences in the features, expressions, and backdrops of subjects from a wide variety of class and background. Utamaro's individuated beauties were in sharp contrast to the stereotyped, idealized images that had been the norm.{{sfn|Kobayashi|1997|p=88}} By the end of the decade, especially following the death of his patron [[Tsutaya Jūzaburō]] in 1797, Utamaro's prodigious output declined in quality,{{sfn|Kobayashi|1997|pp=88–89}} and he died in 1806.{{sfn|Neuer|Libertson|Yoshida|1990|p=40}}

Appearing suddenly in 1794 and disappearing just as suddenly ten months later, the prints of the enigmatic [[Sharaku]] are amongst ukiyo-e's best known. Sharaku produced striking portraits of kabuki actors, introducing a greater level of realism into his prints that emphasized the differences between the actor and the portrayed character.{{sfn|Kobayashi|1997|pp=91–92}} The expressive, contorted faces he depicted contrasted sharply with the serene, mask-like faces more common to artists such as Harunobu or Utamaro.{{sfn|Munsterberg|1957|p=155}} Published by Tsutaya,{{sfn|Neuer|Libertson|Yoshida|1990|p=40}} Sharaku's work found resistance, and in 1795 his output ceased as mysteriously as it had appeared; his real identity is still unknown.{{sfn|Kobayashi|1997|pp=89–91}} Utagawa Toyokuni (1769–1825) produced kabuki portraits in a style Edo townsfolk found more accessible, emphasizing dramatic postures and avoiding Sharaku's realism.{{sfn|Kobayashi|1997|pp=91–92}}

A consistent high level of quality marks ukiyo-e of the late 18th-century, but the works of Utamaro and Sharaku often overshadow those other masters of the era.{{sfn|Neuer|Libertson|Yoshida|1990|p=40}} One of Kiyonaga's followers,{{sfn|Kobayashi|1997|p=91}} [[Eishi]] (1756–1829), abandoned his position as painter for shōgun [[Tokugawa Ieharu]] to take up ukiyo-e design. He brought a refined sense to his portraits of graceful, slender courtesans, and left behind a number of noted students.{{sfn|Neuer|Libertson|Yoshida|1990|p=40}} With a fine line, [[Eishōsai Chōki]] ({{abbr|fl.|floruit}} 1786–1808) designed portraits of delicate courtesans. The Utagawa school came to dominate ukiyo-e output in the late Edo period.{{sfn|Neuer|Libertson|Yoshida|1990|pp=40–41}}

Edo was the primary centre of ukiyo-e production throughout the Edo period. Another major centre developed in the [[Kamigata]] region of areas in and around [[Kyoto]] and [[Osaka]]. In contrast to the range of subjects in the Edo prints, those of Kamigata tended to be portraits of kabuki actors. The style of the Kamigata prints was little distinguished from those of Edo until the late 18th century, partly because artists often moved back and forth between the two areas.{{sfn|Harris|2011|p=38}} Colours tend to be softer and pigments thicker in Kamigata prints than in those of Edo.{{sfn|Salter|2001|pp=12–13}} In the 19th century, many of the prints were designed by kabuki fans and other amateurs.{{sfn|Winegrad|2007|pp=18–19}}
{{Clear}}

<gallery caption="Masters of the peak period" mode="packed" heights="230px">
Kiyonaga Riverside01.JPG|''Cooling on Riverside''{{pb}}[[Torii Kiyonaga|Kiyonaga]], {{circa|1785}}
File:Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day)From Bijin-ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo - Google Art Project.jpg|''[[Three Beauties of the Present Day]]''{{pb}}[[Utamaro]], {{circa|1793}}
Sharaku2.jpg|''Ichikawa Ebizo as Takemura Sadanoshin''{{pb}}[[Sharaku]], 1794
ToyokuniActor.jpg|''Onoe Eisaburo I''{{pb}}[[Utagawa Toyokuni|Toyokuni]], {{circa|1800}}
Chôki - Most Splendid Entertainment of the Niwaka Festival in the Licensed Quarters .jpg|''Niwaka Festival in the Licensed Quarters''{{pb}}[[Eishōsai Chōki|Chōki]], {{circa|1800}}
</gallery>

===Late flowering: flora, fauna, and landscapes (19th century)===

[[File:The Great Wave off Kanagawa.jpg|thumb|alt=A colour illustration of a violent wave|[[Hokusai]]'s ''[[The Great Wave off Kanagawa]]'', 1831]]

The [[Tenpō Reforms]] of 1841–1843 sought to suppress outward displays of luxury, including the depiction of courtesans and actors. As a result, many ukiyo-e artists designed travel scenes and pictures of nature, especially birds and flowers.{{sfn|Harris|2011|p=132}} Landscapes had been given limited attention since Moronobu, and they formed an important element in the works of Kiyonaga and [[Katsukawa Shunchō|Shunchō]]. It was not until late in the Edo period that landscape came into its own as a genre, especially via the works of [[Hokusai]] and [[Hiroshige]] The landscape genre has come to dominate Western perceptions of ukiyo-e, though ukiyo-e had a long history preceding these late-era masters.{{sfn|Michener|1959|p=175}} The Japanese landscape differed from the Western tradition in that it relied more heavily on imagination, composition, and atmosphere than on strict observance of nature.{{sfn|Michener|1959|pp=176–177}}
[[File:Origin_of_Iwato_Kagura_Dance_Amaterasu_by_Toyokuni_III_(Kunisada)_1856.png|left|thumb|390x390px|Origin of Iwato Kagura Dance Amaterasu, Triptych by [[Kunisada]], 1856, depicting the [[Shinto]] [[Solar deity|sun]] [[Kami|goddess]] [[Amaterasu]] emerging from the [[Amano-Iwato|Heavenly Rock Cave]], bringing sunlight back to the world]]
The self-proclaimed "mad painter" [[Hokusai]] (1760–1849) enjoyed a long, varied career. His work is marked by a lack of the sentimentality common to ukiyo-e, and a focus on formalism influenced by Western art. Among his accomplishments are his illustrations of [[Takizawa Bakin]]'s novel ''{{Interlanguage link|Crescent Moon (novel)|ja|3=椿説弓張月|lt=Crescent Moon}}'', his series of sketchbooks, the ''[[Hokusai Manga]]'', and his popularization of the landscape genre with ''[[Thirty-six Views of Mount Fuji]]'',{{sfn|Kobayashi|1997|pp=92–93}} which includes his best-known print, ''[[The Great Wave off Kanagawa]]'',{{sfnm|1a1=Lewis|1a2=Lewis|1y=2008|1p=385|2a1=Honour|2a2=Fleming|2y=2005|2p=709|3a1=Benfey|3y=2007|3p=17|4a1=Addiss|4a2=Groemer|4a3=Rimer|4y=2006|4p=146|5a1=Buser|5y=2006|5p=168}} one of the most famous works of Japanese art.{{sfnm|1a1=Lewis|1a2=Lewis|1y=2008|1p=385|2a1=Belloli|2y=1999|2p=98}} In contrast to the work of the older masters, Hokusai's colours were bold, flat, and abstract, and his subject was not the pleasure districts but the lives and environment of the common people at work.{{sfn|Munsterberg|1957|p=158}} Established masters [[Keisai Eisen|Eisen]], [[Utagawa Kuniyoshi|Kuniyoshi]], and [[Kunisada]] also followed Hokusai's steps into landscape prints in the 1830s, producing prints with bold compositions and striking effects.{{sfn|King|2010|pp=84–85}}

Though not often given the attention of their better-known forebears, the Utagawa school produced a few masters in this declining period. The prolific Kunisada (1786–1865) had few rivals in the tradition of making portrait prints of courtesans and actors.{{sfn|Lane|1962|pp=284–285}} One of those rivals was Eisen (1790–1848), who was also adept at landscapes.{{sfn|Lane|1962|p=290}} Perhaps the last significant member of this late period, Kuniyoshi (1797–1861) tried his hand at a variety of themes and styles, much as Hokusai had. His historical scenes of warriors in violent combat were popular,{{sfn|Lane|1962|p=285}} especially his series of heroes from the {{transliteration|ja|[[Water Margin|Suikoden]]}} (1827–1830) and {{transliteration|ja|[[Chūshingura]]}} (1847).{{sfn|Harris|2011|pp=153–154}} He was adept at landscapes and satirical scenes—the latter an area rarely explored in the dictatorial atmosphere of the Edo period; that Kuniyoshia could dare tackle such subjects was a sign of the weakening of the shogunate at the time.{{sfn|Lane|1962|p=285}}

Hiroshige (1797–1858) is considered Hokusai's greatest rival in stature. He specialized in pictures of birds and flowers, and serene landscapes, and is best known for his travel series, such as ''[[The Fifty-three Stations of the Tōkaidō]]'' and ''[[The Sixty-nine Stations of the Kiso Kaidō|The Sixty-nine Stations of the Kisokaidō]]'',{{sfn|Kobayashi|1997|pp=94–95}} the latter a cooperative effort with Eisen.{{sfn|Lane|1962|p=290}} His work was more realistic, subtly coloured, and atmospheric than Hokusai's; nature and the seasons were key elements: mist, rain, snow, and moonlight were prominent parts of his compositions.{{sfn|Munsterberg|1957|pp=158–159}} Hiroshige's followers, including [[Japanese adult adoption|adopted]] son [[Hiroshige II]] and son-in-law [[Hiroshige III]], carried on their master's style of landscapes into the Meiji era.{{sfn|King|2010|p=116}}
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<gallery caption="Masters of the late period" mode="packed" heights="210px">
Kuniyoshi Utagawa, Suikoden Series 4.jpg|From the {{transliteration|ja|[[Water Margin|Suikoden]]}} series{{pb}}[[Utagawa Kuniyoshi|Kuniyoshi]], 1830
Utagawa Kunisada I (c. 1832) Dawn at Futami-ga-ura.jpg|''Dawn at Futami-ga-ura''{{pb}}[[Kunisada]], {{circa|1832}}
Tokaido45 Shono.jpg|{{transliteration|ja|[[Shōno-juku]]}}, from ''[[The Fifty-three Stations of the Tōkaidō|Fifty-three Stations of the Tōkaidō]]''{{pb}}[[Hiroshige]], {{circa|1833–34}}
Hiroshige (1838) Two mandarin ducks.jpg|Two mandarin ducks{{pb}}Hiroshige, 1838
</gallery>

===Decline (late 19th century)===

Following the deaths of Hokusai and Hiroshige{{sfn|Michener|1959|p=200}} and the Meiji Restoration of 1868, ukiyo-e suffered a sharp decline in quantity and quality.{{sfnm|1a1=Michener|1y=1959|1p=200|2a1=Kobayashi|2y=1997|2p=95}} The rapid Westernization of the [[Meiji period]] that followed saw woodblock printing turn its services to journalism, and face competition from photography. Practitioners of pure ukiyo-e became more rare, and tastes turned away from a genre seen as a remnant of an obsolescent era.{{sfn|Michener|1959|p=200}} Artists continued to produce occasional notable works, but by the 1890s the tradition was moribund.{{sfnm|1a1=Kobayashi|1y=1997|1p=95|2a1=Faulkner|2a2=Robinson|2y=1999|2pp=22–23|3a1=Kobayashi|3y=1997|3p=95|4a1=Michener|4y=1959|4p=200}}

Synthetic pigments imported from Germany began to replace traditional organic ones in the mid-19th century. Many prints from this era made extensive use of a bright red, and were called {{transliteration|ja|[[aka-e]]}} ('red pictures').{{sfn|Seton|2010|p=71}} Artists such as [[Tsukioka Yoshitoshi|Yoshitoshi]] (1839–1892) led a trend in the 1860s of gruesome scenes of murders and ghosts,{{sfn|Seton|2010|p=69}} monsters and supernatural beings, and legendary Japanese and Chinese heroes. His ''[[One Hundred Aspects of the Moon]]'' (1885–1892) depicts a variety of fantastic and mundane themes with a moon motif.{{sfn|Harris|2011|p=153}} [[Kobayashi Kiyochika|Kiyochika]] (1847–1915) is known for his prints documenting the rapid modernization of Tokyo, such as the introduction of railways, and his depictions of Japan's wars [[First Sino-Japanese War|with China]] and [[Russo-Japanese War|with Russia]].{{sfn|Seton|2010|p=69}} Earlier a painter of the Kanō school, in the 1870s [[Toyohara Chikanobu|Chikanobu]] (1838–1912) turned to prints, particularly of the [[Imperial House of Japan|imperial family]] and scenes of Western influence on Japanese life in the Meiji period.{{sfn|Meech-Pekarik|1986|pp=125–126}}
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<gallery caption="Meiji-era ukiyo-e" mode="packed" heights="210px">
Chikanobu (1887) Mirror of Japanese Nobility (cropped and rotated).jpg|''Mirror of the Japanese Nobility''{{pb}}[[Toyohara Chikanobu|Chikanobu]], 1887
Yoshitoshi tsuki.jpg|From ''[[One Hundred Aspects of the Moon]]''{{pb}}[[Tsukioka Yoshitoshi|Yoshitoshi]], 1891
Kiyochika (1904) Nichiro Jinsenk-o kaisen dai Nihon kaigundaishōri Banzai.jpg|''Russo-Japanese Naval Battle at the Entrance of Incheon: The Great Victory of the Japanese Navy—Banzai!''{{pb}}[[Kobayashi Kiyochika|Kiyochika]], 1904
</gallery>

===Introduction to the West===

Aside from Dutch traders, who had had [[Japan–Netherlands relations|trading relations]] dating to the beginning of the Edo period,{{sfn|Watanabe|1984|p=667}} Westerners paid little notice to Japanese art before the mid-19th century, and when they did they rarely distinguished it from other art from the East.{{sfn|Watanabe|1984|p=667}} Swedish naturalist [[Carl Peter Thunberg]] spent a year in the Dutch trading settlement [[Dejima]], near Nagasaki, and was one of the earliest Westerners to collect Japanese prints. The export of ukiyo-e thereafter slowly grew, and at the beginning of the 19th century Dutch merchant-trader [[Isaac Titsingh]]'s collection drew the attention of connoisseurs of art in Paris.{{sfn|Neuer|Libertson|Yoshida|1990|p=48}}

[[File:Japanese Satsuma pavillion at the French expo 1867.jpg|thumb|left|alt=Black-and-white photo of a traditional-style Japanese building|The Japanese Satsuma pavilion at the [[International Exposition (1867)|International Exhibition of 1867 in Paris]]]]

The arrival in Edo of American Commodore [[Matthew C. Perry|Matthew Perry]] in 1853 led to the [[Convention of Kanagawa]] in 1854, which opened Japan to the outside world after [[Sakoku|over two centuries of seclusion]]. Ukiyo-e prints were amongst the items he brought back to the United States.{{sfn|Harris|2011|p=163}} Such prints had appeared in Paris from at least the 1830s, and by the 1850s were numerous;{{sfn|Meech-Pekarik|1982|p=93}} reception was mixed, and even when praised ukiyo-e was generally thought inferior to Western works which emphasized mastery of naturalistic perspective and anatomy.{{sfn|Watanabe|1984|pp=680–681}} Japanese art drew notice at the [[International Exposition (1867)|International Exhibition of 1867 in Paris]],{{sfn|Watanabe|1984|p=667}} and became fashionable in France and England in the 1870s and 1880s.{{sfn|Watanabe|1984|p=667}} The prints of Hokusai and Hiroshige played a prominent role in shaping Western perceptions of Japanese art.{{sfn|Watanabe|1984|p=675}} At the time of their introduction to the West, woodblock printing was the most common mass medium in Japan, and the Japanese considered it of little lasting value.{{sfn|Salter|2001|p=12}}

Early Europeans promoters and scholars of ukiyo-e and Japanese art included writer [[Edmond de Goncourt]] and art critic [[Philippe Burty]],{{sfn|Weisberg|Rakusin|Rakusin|1986|p=7}} who coined the term ''[[Japonism]]''.{{sfn|Weisberg|1975|p=120}}{{efn|Burty coined the term {{lang|fr|le Japonisme}} in French in 1872.{{sfn|Weisberg|1975|p=120}}}} Stores selling Japanese goods opened, including those of Édouard Desoye in 1862 and art dealer [[Siegfried Bing]] in 1875.{{sfn|Jobling|Crowley|1996|p=89}} From 1888 to 1891 Bing published the magazine ''[[Artistic Japan]]''{{sfn|Meech-Pekarik|1982|p=96}} in English, French, and German editions,{{sfn|Weisberg|Rakusin|Rakusin|1986|p=6}} and curated an ukiyo-e exhibition at the {{Lang|fr|[[École des Beaux-Arts]]|italic=no}} in 1890 attended by artists such as [[Mary Cassatt]].{{sfn|Jobling|Crowley|1996|p=90}}

[[File:Debussy - La Mer - The great wave of Kanaga from Hokusai.jpg|thumb|alt=Cover of book of sheet music depicting a stylized wave|Not only the visual arts but also music drew inspiration from ukiyo-e in the West: cover of the orchestral score of [[Claude Debussy|Debussy]]'s {{lang|fr|[[La mer (Debussy)|La mer]]}} (1905).]]

American [[Ernest Fenollosa]] was the earliest Western devotee of Japanese culture, and did much to promote Japanese art—Hokusai's works featured prominently at his inaugural exhibition as first curator of Japanese art [[Museum of Fine Arts, Boston|Museum of Fine Arts]] in Boston, and in Tokyo in 1898 he curated the first ukiyo-e exhibition in Japan.{{sfn|Meech-Pekarik|1982|pp=101–103}} By the end of the 19th century, the popularity of ukiyo-e in the West drove prices beyond the means of most collectors—some, such as [[Edgar Degas|Degas]], traded their own paintings for such prints. [[Tadamasa Hayashi]] was a prominent Paris-based dealer of respected tastes whose Tokyo office was responsible for evaluating and exporting large quantities of ukiyo-e prints to the West in such quantities that Japanese critics later accused him of siphoning Japan of its national treasure.{{sfn|Meech-Pekarik|1982|pp=96–97}} The drain first went unnoticed in Japan, as Japanese artists were immersing themselves in the classical painting techniques of the West.{{sfn|Merritt|1990|p=15}}

Japanese art, and particularly ukiyo-e prints, came to influence Western art from the time of the early [[Impressionism|Impressionist]]s.{{sfn|Mansfield|2009|p=134}} Early painter-collectors incorporated Japanese themes and compositional techniques into their works as early as the 1860s:{{sfn|Meech-Pekarik|1982|p=93}} the patterned wallpapers and rugs in [[Édouard Manet|Manet]]'s paintings were inspired by the patterned kimono found in ukiyo-e pictures, and [[James Abbott McNeill Whistler|Whistler]] focused his attention on ephemeral elements of nature as in ukiyo-e landscapes.{{sfn|Ives|1974|p=17}} [[Vincent van Gogh|Van&nbsp;Gogh]] was an avid collector, and painted [[Copies by Vincent van Gogh|copies in oil]] of prints by Hiroshige and [[Keisai Eisen|Eisen]].{{sfn|Sullivan|1989|p=230}} Degas and Cassatt depicted fleeting, everyday moments in Japanese-influenced compositions and perspectives.{{sfn|Ives|1974|p=37–39, 45}} ukiyo-e's flat perspective and unmodulated colours were a particular influence on graphic designers and poster makers.{{sfn|Jobling|Crowley|1996|pp=90–91}} [[Henri de Toulouse-Lautrec|Toulouse-Lautrec]]'s lithographs displayed his interest not only in ukiyo-e's flat colours and outlined forms, but also in their subject matter: performers and prostitutes.{{sfn|Ives|1974|p=80}} He signed much of this work with his initials in a circle, imitating the seals on Japanese prints.{{sfn|Ives|1974|p=80}} Other artists of the time who drew influence from ukiyo-e include [[Claude Monet|Monet]],{{sfn|Mansfield|2009|p=134}} [[John La Farge|La Farge]],{{sfn|Meech-Pekarik|1982|p=99}} [[Paul Gauguin|Gauguin]],{{sfn|Ives|1974|p=96}} and [[Les Nabis]] members such as [[Pierre Bonnard|Bonnard]]{{sfn|Ives|1974|p=56}} and [[Édouard Vuillard|Vuillard]].{{sfn|Ives|1974|p=67}} French composer [[Claude Debussy]] drew inspiration for his music from the prints of Hokusai and Hiroshige, most prominently in {{lang|fr|[[La mer (Debussy)|La mer]]}} (1905).{{sfn|Gerstle|Milner|1995|p=70}} [[Imagism|Imagist]] poets such as [[Amy Lowell]] and [[Ezra Pound]] found inspiration in ukiyo-e prints; Lowell published a book of poetry called ''Pictures of the Floating World'' (1919) on oriental themes or in an oriental style.{{sfn|Hughes|1960|p=213}}

<gallery caption="Ukiyo-e influence on Western art" mode="packed" heights="230px">
100 views edo 076.jpg|''Bamboo Yards, Kyōbashi Bridge''{{pb}}[[Hiroshige]], {{circa|1857–58}}
James Abbot McNeill Whistler 006.jpg|''[[Nocturne: Blue and Gold&nbsp;– Old Battersea Bridge]]''{{pb}}[[James Abbott McNeill Whistler|Whistler]], {{circa|1872–75}}
Hiroshige Atake sous une averse soudaine.jpg|''[[Sudden Shower over Shin-Ōhashi bridge and Atake]]''{{pb}}Hiroshige, 1857
Vincent van Gogh - Brug in de regen- naar Hiroshige - Google Art Project.jpg|''[[Japonaiserie (Van Gogh)|Bridge in the Rain (after Hiroshige)]]''{{pb}}[[Vincent van Gogh|van&nbsp;Gogh]], 1887
Edgar Degas Au Louvre la peinture (Mary Cassatt) c1879-1880.jpg|''Mary Cassatt at the Louvre: The Paintings Gallery''{{pb}}[[Edgar Degas|Degas]], {{circa|1879–80}}
Mary Cassatt - Woman Bathing - NGC 29878.jpg|''Woman Bathing''{{pb}}[[Mary Cassatt|Cassatt]], {{circa|1890–91}}
</gallery>

===Descendant traditions (20th century)===

[[File:Yamamoto 1904.jpg|thumb|alt=Monochromatic print of a man in a heavy coat standing, looking away from the viewer at the ocean|''Fisherman''{{pb}}[[Kanae Yamamoto (artist)|Kanae Yamamoto]], 1904]]
The travel sketchbook became a popular genre beginning about 1905, as the Meiji government promoted travel within Japan to have citizens better know their country.{{sfn|King|2010|pp=119, 121}} In 1915, publisher [[Shōzaburō Watanabe]] introduced the term {{Transliteration|ja|[[shin-hanga]]}} ("new prints") to describe a style of prints he published that featured traditional Japanese subject matter and were aimed at foreign and upscale Japanese audiences.{{sfn|Seton|2010|p=81}} Prominent artists included [[Goyō Hashiguchi]], called the "Utamaro of the [[Taishō period]]" for his manner of depicting women; [[Shinsui Itō]], who brought more modern sensibilities to images of women;{{sfnm|1a1=Brown|1y=2006|1p=22|2a1=Seton|2y=2010|2p=81}} and [[Hasui Kawase]], who made modern landscapes.{{sfnm|1a1=Brown|1y=2006|1p=23|2a1=Seton|2y=2010|2p=81}} Watanabe also published works by non-Japanese artists, an early success of which was a set of Indian- and Japanese-themed prints in 1916 by the English [[Charles W. Bartlett]] (1860–1940). Other publishers followed Watanabe's success, and some {{transliteration|ja|shin-hanga}} artists such as Goyō and [[Hiroshi Yoshida]] set up studios to publish their own work.{{sfn|Brown|2006|p=21}}

Artists of the {{transliteration|ja|[[sōsaku-hanga]]}} ('creative prints') movement took control of every aspect of the printmaking process—design, carving, and printing were by the same pair of hands.{{sfn|Seton|2010|p=81}} [[Kanae Yamamoto (artist)|Kanae Yamamoto]] (1882–1946), then a student at the [[Tokyo University of the Arts|Tokyo School of Fine Arts]], is credited with the birth of this approach. In 1904, he produced ''Fisherman'' using woodblock printing, a technique until then frowned upon by the Japanese art establishment as old-fashioned and for its association with commercial mass production.{{sfn|Merritt|1990|p=109}} The foundation of the [[Japanese Woodcut Artists' Association]] in 1918 marks the beginning of this approach as a movement.{{sfn|Munsterberg|1957|p=181}} The movement favoured individuality in its artists, and as such has no dominant themes or styles.{{sfn|Statler|1959|p=39}} Works ranged from the entirely abstract ones of [[Kōshirō Onchi]] (1891–1955) to the traditional figurative depictions of Japanese scenes of [[Un'ichi Hiratsuka]] (1895–1997).{{sfn|Munsterberg|1957|p=181}} These artists produced prints not because they hoped to reach a mass audience, but as a creative end in itself, and did not restrict their print media to the woodblock of traditional ukiyo-e.{{sfn|Statler|1959|pp=35–38}}

<!-- let's avoid using "kindai hanga" -- the term isn't set in stone the way "shin-hanga" and "sōsaku-hanga" are -->Prints from the late-20th and 21st centuries have evolved from the concerns of earlier movements, especially the {{transliteration|ja|sōsaku-hanga}} movement's emphasis on individual expression. [[Screen printing]], [[etching]], [[mezzotint]], [[mixed media]], and other Western methods have joined traditional woodcutting amongst printmakers' techniques.{{sfn|Fiorillo|1999}}
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<gallery caption="Descendants of ukiyo-e" mode="packed" heights="210px">
'Taj Mahal' by Charles W. Bartlett, 1916, woodblock print.JPG|''Taj Mahal'', [[Charles W. Bartlett]], 1916
Hashiguchi Goyo - Woman in Blue Combing Her Hair - Walters 95880.jpg|''Combing the Hair''{{pb}}[[Goyō Hashiguchi]], 1920
Kawase Zôjôji.jpg|{{transliteration|ja|Shiba Zōjōji}}, [[Hasui Kawase]], 1925
Hiroshi Yoshida, Hikaru umi, 1926.jpg|''Glittering Sea'', by [[Hiroshi Yoshida]], 1926
'Lyric No. 23' by Onchi Koshiro, Honolulu Museum of Art.JPG|''Lyric No. 23''{{pb}}[[Kōshirō Onchi]], 1952
</gallery>