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| “Chinese Gate,” Ninomaru Palace, Nijô Castle, Kyoto, photographed in April 2010, 1626 |
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| Ninomaru Palace, Nijô Castle, Kyoto, 1626 |
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| Pond garden, Ninomaru Palace, Nijô Castle, Kyoto, 1626 |
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| Reception Hall, Ninomaru Palace, Nijô Castle, Kyoto, 1626 |
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| Grand Audience Hall, with Kano Tan'yu’s Pine Tree in the tokonoma, Ninomaru Palace, Nijô Castle, Kyoto, 1626 |
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| Kuroshoin, with painting of cherry blossoms, Ninomaru Palace, Nijô Castle, Kyoto, 1626 |
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| Shiroshoin, with landscape paintings of China, Ninomaru Palace, Nijô Castle, Kyoto, 1626 |
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| Sôtatsu, Matsushima Screens, 17th c., pair of 6-panel folding screens, ink, color, gold leaf on paper, each approx. 60 x 141 in., Freer and Sackler |
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| a hereditary military leader of Japan |
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| samurai (“one who serves”) |
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| a Japanese warrior who was a member of the feudal military chain |
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| one of the foremost Japanese painters of the Kanō school. His original given name was Morinobu; he was the eldest son of Kanō Takanobu and grandson of Kanō Eitoku. Many of the most famous and widely known Kanō works today are by Tan'yū. |
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| Tawaraya Sôtatsu (active 1600-40) |
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| co-founder of the Rimpa school |
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| One of the great masters of the Rinpa School, born to be a wealthy merchant family that operated a textile shop in Kyoto |
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| created in 17th century Kyoto by Kōetsu (1558-1637) and Sōtatsu. Style involves simple natural subjects such as birds, plants and flowers, with the background filled in with gold leaf. |
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| Tales of Ise (Ise Monogatari) |
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Illustrated Japanese literary classics
Collection of tanka poems and associated narratives, dating from the Heian period. |
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| Application of a drop of black ink or pigment or water to ink or color-painted areas which have not yet dried to achieve an effect of blotting. Especially used by the painter of such the Rimpa as Tawaraya Sotatsu and Ogata Korin. |
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| Sôtatsu (image) and Honami Kôetsu (calligraphy), Deer Scroll, c. 1615, handscroll, ink and gold and silver paint on paper, approx. 14 in. tall, Seattle Art Museum |
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| Ôgata Kôrin, Irises, c. 1701, one of a pair of 6-panel folding screens, colors and gold leaf on paper, each approx. 60 x 133 in. |
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| Ôgata Kôrin, Ink box with design of irises and bridges (yatsuhashi), c. 1710-16, gold, silver and mother of pearl on lacquer, approx. 24 x 20 x 11 cm. |
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| Ôgata Kôrin, Red and White Plum Blossoms, c. 1710-16, pair of 2-panel folding screens, colors and gold and silver leaf on paper, each approx. 62 x 68 in. |
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| Gion Nankai, Plum Blossoms, 1740s, hanging scroll, ink on paper, approx. 38 x 21 in. |
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| Ike Taiga, Gathering at the Orchid Pavilion, mid-18th c., one of a pair of 6-panel folding screens, ink and light color on paper |
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| Shiba Kôkan, Seven-League Beach at Kamakura (Shichirigahama), c. 1800, hanging scroll, oil on silk |
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| Satake Shôzan, Irises and a Knife, late 18th c., hanging scroll, colors on silk, approx. 113 x 40 cm. |
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| Odano Naotake, Shinobazu Pond, c. 1770s, hanging scroll, colors on silk |
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| bunjinga ("literati painting"; also called nanga) |
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| Nanga or bunjinga paintings almost always depicted traditional Chinese subjects. Artists focused almost exclusively on landscapes and birds and flowers. Flourished in the late Edo period among artists who considered themselves literati, or intellectuals. They all shared an admiration for traditional Chinese culture. |
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| yôfûga ("Western-style painting") |
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| Movement endeavored to emulate European painting rather than simply incorporating chosen aspects into essentially Japanese images. The greatest master was Shiba Kôkan, encouraged by Hiraga Gennai. |
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| "Dutch pictures. Predecessor to yōga. Reference meeting of Japan, China, and the West, by Shiba Kōkan, late 18th century |
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| Itô Jakuchû, A Group of Roosters, c. 1757-67, from set of 30 paintings titled The Colorful Realm of Living Beings, hanging scroll, color and ink on silk, approx. 142 x 73 cm. |
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| Itô Jakuchû, A Group of Roosters, c. 1757-67, from set of 30 paintings titled The Colorful Realm of Living Beings, hanging scroll, color and ink on silk, approx. 142 x 73 cm. |
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| an Eccentric[1] Japanese painter of the mid-Edo period. His painting style and methods were heavily influenced by Western painting. |
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| heavily influenced by Western painting |
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| Hikone Screen, 6-panel folding screen, between 1624-44, color, ink and gold leaf on paper, each panel approx. 37 x 19 in. |
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| Public Bathhouse Prostitutes, mid-17th c., hanging scroll, color on paper, approx. 73 x 80 cm. |
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| Hishikawa Moronobu, Beauty Looking over Her Shoulder, late 17th c., hanging scroll, color on silk, approx. 63 x 31 cm. |
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| Hishikawa Moronobu, Lovers in an Autumn Field, c. 1680, leaf from an album of erotica (shunga), monochrome woodblock print, approx. 12 x 14 in. |
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| bijinga ("pictures of beautiful people/women") |
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| pictures of beautiful people/women, usually courtesans. |
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| pictures of the floating world |
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| dangerous [i.e., risque] picture |
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| Pleasure quarters in the Edo period. These women were often sold to the brothels by their parents. Yoshiwara also became a strong commercial area. The fashions in the town changed frequently, creating a great demand for merchants and artisans. |
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| Hishikawa Moronobu (1618-94) |
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| painter and printmaker known for his advancement of the ukiyo-e woodcut style starting in the 1670s. Learned his father's craft, studied both Tosa and Kanō-style painting. Had a solid grounding in both decorative crafts and academic painting, which served him well when he then turned to ukiyo-e, which he studied with his mentor, the Kambun Master. |
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| Suzuki Harunobu, Lovers on a Balcony, c. 1766-67, polychrome woodblock print |
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| Torii Kiyomasu I, Ichikawa Danjûrô as Gôrô Uprooting a Bamboo Tree, 1697, hand-colored woodblock print on paper, ôban, approx. 15 x 9 in. |
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| Okumura Masanobu (1686-1764) |
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| Painter and publisher of illustrated books. His style is noted for its vividness and graceful, restrained lines. He was one of the first Japanese artists to adopt Western perspective, to which he was introduced by Chinese prints. He produced large-scale prints depicting scenes such as the insides of theatres and stores. Such prints were called uki-e (“looming picture”) for their foreshortened perspective. |
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| Suzuki Harunobu (1725-70) |
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| one of the six great masters of the Japanese wood-block print and was responsible for inventing the fully developed color print called nishiki-e, or brocade painting |
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| Kitagawa Utamaro (1753-1806) |
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| Painter and woodblock-print designer. He was a central figure of the literary and artistic world of Edo and became one of the better-known Japanese ukiyoe (‘pictures of the floating world’) artists outside Japan. |
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| Kitagawa Utamaro (1753-1806) |
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| concentrated on making half-length erotic single portraits of women rather than prints of women in groups. He was accused of insulting Hideyoshi's dignity. He was sentenced to be handcuffed for 50 days (some accounts say he was briefly imprisoned). According to some sources, the experience crushed him emotionally and ended his career as an artist. |
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| painter and printmaker in the ukiyo-e style, and the leading artist of the Katsukawa school. |
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| classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers. Women were banned by the shogunate because it was too erotic |
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