Tag Archives: Japanese art

David Bowie’s Moss Garden and Ukiyo-e Ladies Playing Koto

15 Mar

Chikanobu Toyohara (1838-1912), Koto Player – Azuma

David Bowie’s instrumental piece “Moss Garden”, the second of the three instrumentals on side two of album “Heroes” released in 1977, is a serene, tranquil oasis of light in the desert of darkness which makes the majority of the album’s sound. Situated between the fellow two instrumentals, dark and foreboding “Sense of Doubt” and equally grim “Neuköln”, the “Moss Garden”, strange and serene, is like a ray of sun on a moody, cloudy spring day that appears for a moment and disappears quickly behind the clouds. Bowie plays the traditional Japanese string instrument koto on the track and Brian Eno plays the synthesizer. “Moss Garden” is a delightful five minutes and three seconds of lightness and meditative, ambient ethereal sounds. So, one cannot refer to “Heroes” as to a dark album, why, one eighth of the album is uplifting. And then there’s the song “Heroes” as well.

It’s been quite some time since I discovered Bowie’s Berlin era songs, but this song lingered in my memory, and I think the reason for that is the eastern sound of the koto. I mean, how many rock songs are coloured by far-east sounds like that? Listening to this instrumental piece made me think of all the Ukiyo-e prints where beautiful Japanese ladies dressed in vibrant clothes are playing koto and I found a few lovely examples which I am sharing in this post. A lot of these Japanese woodcut prints (or Ukiyo-e prints) were made by Chikanobu, an artist who worked mostly in the 1880s and 1890s, the last fruitful decades for the art of woodcuts and in his work he mostly focused on beautiful women doing everyday things. I really enjoy the elegant simplicity of the woodcut above; how the background is clear but the lady’s purple kimono stands out and the focus is solely on her and her koto; back to bare essentials. I also really love Hasegawa Settei’s portrayal of lady playing kimono.

Toyohara Chikanobu, Preparing to Play the Koto, from the series Ladies of the Tokugawa Period, 1895

Toshikata Mizuno (1866-1914), Thirty-six Selected Beauties – Playing Koto

Hasegawa Settei, A Japanese woman playing the koto, December 1878

Toyohara Chikanobu (1838-1912), Playing Koto, c 1890s

Toyohara Chikanobu (1838-1912), Koto Player at 11 a.m. – Scenes of the Twenty-four Hours, c 1890s

Moss gardens are a special variety of Japanese gardens, the continuous flow of unending moss coated ground lets the person slowly fall into the dreamy and meditative state, and allows the eye to wander from one variety of moss to the other, the nostrils to inhale the rich, green, primeval scent of this old and grateful plant. I imagine it rich with water after a rainy summer afternoon. “A moss garden presents the opportunity to observe differentiations of colour that have never been seen before. The tactile and optical characteristics of the moss gardens are softness, sponginess, submarine wateriness and unfathomability. They are the exact opposite of the pebble gardens with their appointed paths, boundaries and stone islands.” (Siegfried Wichmann; Japonism)

When life gets overwhelming, one can sit for hours in such a garden and easily sink into a meditative state, thoughts drifting and problems fading. In a similar way, Bowie’s move to Berlin with Iggy Pop in 1976 was his way of finding clarity, anonymity and inspiration: “I had approached the brink of drug induced calamity one too many times and it was essential to take some kind of positive action. For many years Berlin had appealed to me as a sort of sanctuary like situation. It was one of the few cities where I could move around in virtual anonymity.“(Bowie with Rob Hughes and Stephen Dalton for Uncut Magazine) After the very depressing album “Low” released earlier the same year, 1977, album “Heroes” is the first step in the path of Bowie’s search for clarity and perhaps the song “Moss Garden” is the best expression of this new found quite, introspective feeling of serenity.

Keiko Yurimoto (1906-2000), Koto Player, c 1950

Berlin in the seventies was a grey, isolated and divided city with a world-weary self-regard. The youth suffered and junkies filled the subway stations, but a lot of bohemians, artists and musicians were drawn to that bleak, alienated and experimental atmosphere and relished in what the city had to offer. As Bowie said himself: “For many years Berlin had appealed to me as a sort of sanctuary-like situation. It was one of the few cities where I could move around in virtual anonymity. I was going broke; it was cheap to live. For some reason, Berliners just didn’t care. Well, not about an English rock singer, anyway.” He was just another weirdo in the city and everyone left him alone. The product of his fascination with the city were three albums; Low, Heroes and Lodger – today known as Bowie’s “Berlin Trilogy”, by far my favourite era of Bowie’s music. Bowie said himself about the Berlin Trilogy: “My complete being is within those three albums.” (Uncut magazine) Enough said. I don’t really understand or share the wild enthusiasm for Bowie’s glam rock Ziggy Stardust era, I mean those are some great songs, but the Berlin era is the real thing, it sounds as if the mood of the times and the city with its bleakness and political division is woven into the music, to me it sounds like Berlin breathing and living.

Haunting Melancholy Dolls by Mari Shimizu

15 Dec

“She’s got the whole dark forest living inside of her.”

(Tom Waits)

Some time ago I discovered these gorgeous dolls made by a Japanese artist Mari Shimizu, and I was instantly drawn to their beautiful pale haunting faces, large eyes radiating melancholy and rosebud lips which hide secrets. Mari Shimizu has been creating these dolls for almost twenty years now, having started in 2000, and she is entirely self-taught. The detailing and the inspiration that went into creating each doll individually is baffling! They are all unique and yet they all seem to belong to this one world; half-fantasy and half-macabre. As I gaze at each doll, it seems to me that their eyes, shiny and large like gemstones, jade or sapphire, are gateways to this other world, that of the imagination.

Some of them are inspired by Alice in Wonderland, some are vampire-like, with delicious little fangs and faded lavender coloured Rococo-style gowns, others are skeletons with rich inner lives, and I mean literary so; their insides, instead of organs, have a whole other vivid crazy world inside them; nude maiden riding a horse of Fuseli-inspired fantasy, anything goes. Mari Shimizu wasn’t into the whole pink, sugary, kawaii aesthetic that Japan is famous for (that isn’t the only aspect of Japanese culture, I know, but it seems a lot of foreigners are drawn to the cuteness and childlike stuff that Japan offers, from mangas to Lolita clothes).

Her imagination wanted to go to greater depths and greater lengths, and looking at these dolls you can notice a whole scale of inspiration that went into it, from Western art and fairy tales and stories, and she said in an interview here that she especially likes Renaissance and Victorian eras which would explain some of the themes behind these dolls, Death and the Maiden, a popular motif in the Middle ages and the Renaissance, and Alice in Wonderland: “Alice in Wonderland is fascinated by being an absurd drama with a girl as the main character, depicted in an era when human activities are automated in the industrial revolution. I interpret that the innocent and pure existence of a girl is a story that fights adult absurdity over time. Human emotions and growth are inherently absurd.  It is animals and nature that tell us the truth, not formulas.  Alice in Wonderland is drawn through the eyes of a girl whose world is still undifferentiated, and she can listen to animal conversations and freely change the size and presence of objects.  It is a theme that always has new discoveries that break our fixed concept.” (in the artist’s own words)

Henri Fuseli, The Nightmare, 1791

Bat and Moon in Japanese Ukiyo-e Prints

22 Jun

Yamada Hōgyoku, Bat and Moon, 1830

I recently discovered this simple yet charming woodblock print of a bat and the moon by a Japanese artist Yamada Hogyoku. As you may already know, I am quite a fan of Japanese Ukiyo-e prints, they are so interesting and exotic to my western eyes, but also I love bats (and vampires too) so seeing this handsome bat on a Japanese print made my heart flutter. I am in a phase of melancholy reminiscing these days and seeing this bat made me think of the bats I saw two summers ago in my small home town. July was nearing its end, dusk was setting, bright pink and purple, as I was descending down from the old graveyard in the hills, and there, by a beautiful and large weeping willow tree, I saw them in all their splendour; bats dancing in the air, chasing one another, fluttering their delicate wings, dark as the night, delicate and fragile, and so beautiful. I stood there amazed at the sight and nearly had tears in my eyes from seeing that beauty. I had seen bats before that day and after too, but that moment stayed etched in my mind because it was just perfect, just like a scene out of a novel; the pink dusk sky, the weeping willow, the warm and long July night that was upon me. I remember it as if it happened yesterday; the bouquet of wild flowers I carried in my hand, the dress I wore, the hat with long dusty pink ribbons. And indeed, I felt as if I were a heroine of a novel!

Seeing this woodblock print made me daydream of those wonderful summer nights which I know were beautiful, but I also know I have idealised them in my imagination, just as I do with each moment of my life that passes. I wish to see a bat again soon and feel that ecstasy filling my body and soul, and I wish to fly away with them, to some more joyous place, I wish to be as free as them! I’ve also included two more Japanese woodblock prints with the same motif. What I admire the most about these artworks is the simplicity; on the first one by Hogyoku the moon is barely visible, so light and ethereal it is, and the bat is captured in a seemingly swift determined way, edgy and sharp, with a gradient colour scheme, from greys to a deep black. I think it would be much fun to recreate these prints in watercolours. And now, to end, here is a poem called “Bat” by D.H.Lawrence who seems less enthusiastic about the beauty of bats:

At evening, sitting on this terrace,

When the sun from the west, beyond Pisa, beyond the mountains of Carrara

Departs, and the world is taken by surprise …

 

When the tired flower of Florence is in gloom beneath the glowing

Brown hills surrounding …

 

When under the arches of the Ponte Vecchio

A green light enters against stream, flush from the west,

Against the current of obscure Arno …

 

Look up, and you see things flying

Between the day and the night;

Swallows with spools of dark thread sewing the shadows together.

 

A circle swoop, and a quick parabola under the bridge arches

Where light pushes through;

A sudden turning upon itself of a thing in the air.

A dip to the water.

 

And you think:

“The swallows are flying so late!”

 

Swallows?

 

Dark air-life looping

Yet missing the pure loop …

A twitch, a twitter, an elastic shudder in flight

And serrated wings against the sky,

Like a glove, a black glove thrown up at the light,

And falling back.

 

Never swallows!

Bats!

The swallows are gone.

 

At a wavering instant the swallows gave way to bats

By the Ponte Vecchio …

Changing guard.

 

Bats, and an uneasy creeping in one’s scalp

As the bats swoop overhead!

Flying madly.

 

Pipistrello!

Black piper on an infinitesimal pipe.

Little lumps that fly in air and have voices indefinite, wildly vindictive;

 

Wings like bits of umbrella.

 

Bats!

 

Creatures that hang themselves up like an old rag, to sleep;

And disgustingly upside down.

 

Hanging upside down like rows of disgusting old rags

And grinning in their sleep.

Bats!

 

In China the bat is symbol for happiness.

Not for me!

Katsushika Hokusai, Two bats flying, c. 1830-50

Biho Takashi, Bat Before the Moon, c. 1910

Toyohara Chikanobu – Wisteria Tree and Cherry Blossom Party

28 Mar

Today we’ll take a look at two lovely ukiyo-e prints by Toyohara Chikanobu, a nineteenth century Japanese ukiyo-e artist.

Toyohara Chikanobu, Carp Jumping out of the Pond under a Wisteria Tree at the Chiyoda Palace (Chiyoda Ooku Ohanami), 1894, oban triptych

This dazzling ukiyo-e print, Chikanobu’s portrayal of a scene from the court life at the Chiyoda Palace, has been lingering in my mind for quite some time now. What I love about it is the simplicity of elements and the vivacious effect that arose from that minimalism. The print shows three elegantly dressed court ladies enjoying a relaxing and carefree moment in nature. The focus of their, and our, interest is the carp jumping out of the water. And just look at that carp! Not one Western artist would paint a carp in such a detailed and exciting way. Not much is presented in this triptych; three ladies, carps, tree and a pond, but if you gaze at this print for a long time you can feel everything that is going on and feel a part of the scene. Chikanobu captured the exciting moment in nature; the carp jumping out of the water is something that happened for a second and was gone, but here it is presented in all its beauty.

You can almost feel the water splashing on you as the carp rises in the air like a ballet dancer doing her pirouette, lured by the scent of the wisteria tree that is blooming idly above the water. I like the rhythm of the stones in the pond and two light blue lines that Chikanobu painted to suggest the stream of water. The ladies look like pretty flowers themselves, dressed in gorgeous vibrant silks with intricate patterns. Two are observing the scene from the coast, the blossoming trees behind them are filling the monotonous off-whiteness of the background, while the more daring or simply more curious lady in the centre of the triptych is standing on the stone, careful not to let her kimono touch get soaked in the water. She has an interesting pose and a curious face expression, as if she was directly looking eye to eye with the jumping carp.

Toyohara Chikanobu, Cherry Blossoms Party at the Chiyoda Palace (Chiyoda Ooku Ohanami), 1894, Oban triptych

To give you a proof that the court ladies did not spent their days just watching carps jumping out of water, here is another wonderful triptych by Chikanobu which is again focused on the elegant and carefree life at the Chiyoda palace, and its ceremonies. When the carps are asleep in the pond, there are always the blooming cheery blossom trees to provide plenty of entertainment for the eyes hungry for beauty, so why not throw a party to celebrate the ephemeral beauty of the blossoming cherry trees? The first thing that catches our eyes here are the ladies dressed in vibrant red kimono, walking under an equally bright parasol, chatting about something I assume was very important, you know the latest gossips and the way the moon looked round and white last night. The entire scene is framed with the cherry blossom trees whose branches and flowers overwhelm the space. Because of the red colour and the flowers, it can be hard at first to notice a funny scene going on in the background; other court ladies, less sumptuously dressed, are playing the blindman’s buff game. What a contrast between the elegant and upright walk of the red-kimono group to the childlike playfulness of the second group. It seems that some came to the cherry blossom party to look good and show themselves, while others came to have some fun. Meanwhile, a light breeze is coming from the east, can you feel it, bringing the sounds of koto (listen to it here) and slowly, tenderly, blowing off the delicate petals from the branches into the vast unknown of the sky.

Chikanobu (1838-1912) was born into a Samurai family in Edo and started getting seriously involved in making ukiyo-e prints around 1877 and he retired in 1906. His most prolific time were the last two decades of the nineteenth century, 1880s and 1890s; the same time when Vincent van Gogh and Henri de Toulouse-Lautrec were painting in Europe and were inspired by Japanese art. They would probably like to meet Chikanobu and exchange ideas about art. Chikanobu’s focus was on portraying women and he also did many actor scenes, which was a whole genre in ukiyo-e prints. In the 1890s he was commissioned to make these triptych showing scenes from the Chiyoda palace in which Chikanobu presented a nostalgic view of the glorious past that was disappearing.

James Abbott McNeill Whistler – Harmony in Grey and Green

6 Feb

“A fallen blossom
Returning to the branch?
It was a butterfly.”

(Moritake)

James Abbott McNeill Whistler, Harmony in Grey and Green: Miss Cicely Alexander, 1872-1874

Whistler painted quite a few ladies in white gowns, but those ladies usually have a look of melancholy or wistfulness on their gentle faces. The little girl appears to be showing off her clothes, her white stockings, her black satin slippers, her hat with a large feather, all the way to her dazzlingly white muslin gown, but as our gaze slowly moves up, we see a pale face with pouting lips and a distant gaze that doesn’t speak of joy or rapture. This little girl however looks rather moody, hiding her anger because she isn’t allowed to express it. But how can someone dressed in such a pretty gown be so moody? How can someone posing for an artist not have cheeks blushing from thrill and rapture? This dolly isn’t a typical melancholy muse as Joanna Hiffernan was; Whistler’s lover and companion who posed for his Symphony in White no 2 and some other paintings. This little girl is Miss Cicely Alexander, a daughter of a banker that Whistler met because of their mutual interest in Oriental art, and she was eight years old when this unfortunate sitting took place. More than one sitting naturally. It took the pedantic Whistler more than seventy sittings to paint everything just as he had envisioned it. He didn’t seem to take Miss Cicely’s feelings into consideration and despite the lyrical beauty of the portrait, it didn’t remain in good memory for the little girl. This is what she had to say about the sittings: “I’m afraid I rather considered that I was a victim all through the sittings, or rather standings, for he never let me change my position, and I believe I sometimes used to stand for hours at a time. I know I used to get very tired and cross, and often finished the day in tears.

That’s why she looks moody! Why, wouldn’t you be moody and angry yourself, if you had to stand still for a long time and not be able to play with dolls or joke around with your friends or siblings. Sitting for Whistler surely made her feel like Sisyphus carrying that huge stone to the top of the hill over and over again; a never ending pursuit…  which did have its ending after all. And the result is a very dreamy painting that continues Whistler’s tradition of portraits of wistful ladies inspired by Japonism. In this portrait, hints of Japan come in form of bright curious daisies on the right and a few butterflies that desperately want to escape the canvas. I really love how the tall daisies seem to be leaning towards the girl, as if they are trying to comfort her; “shhh little girl, don’t cry, that Mr Whistler may be awfully demanding but the painting will be a dream once finished”. The daisies are such prophets and they were right. Whistler’s eccentricity, love for l’art pour l’art philosophy and his pedantic approach to his art truly shine through in this portrait. He paid meticulous attention to all the aspects of the setting, especially the colours because he wanted to achieve a palette of muted shades, white and greys. The carpet and the walls are in many shades of grey while Miss Cicely shines in white like a resplendent white flower. The carpet was order made and that gorgeous muslin dress was designed by Whistler and made especially for Miss Cicely to wear in this portrait. He even made sure the family find the right muslin, as a dandy he would know the fabrics!

I really love all of Whistler’s harmonies and symphonies and their balanced colour palettes, dreamy ambients and pretty wistful sitters. For a long time my favourite was The Little White Girl, and perhaps it still is, but I feel that in this portrait Whistler achieved the minimalism of colours and space that he so loved in Japanese art; the background isn’t cluttered with fur carpets or fireplaces, it is just that meditative grey that stretches on and on, the mood of infinity broken only by that black line which somewhat reminds me of a canvas by Rothko, and the canvas is a little bit elongated which brings to mind the ukiyo-e prints and the formats they used. When I look at this portrait for a long time, at first I hear silence but then I hear quiet music emerging, an echo of the daisies’ laughter, and a sound of flute carried on by the butterflies chasing each other around the moody girl in white… Oh, how she wishes she could join them!

Japanese Prints – Cherry Blossoms and Moonshine

13 Feb

Watching the rain of soft pink petals of cherry blossoms, against the night sky and magical moonshine – must be one of the most profound occupations one could possibly indulge in.

1852-ukiyo-e-painting-from-the-tale-of-genji-chapter-20-hana-no-en-under-the-cherry-blossoms-by-artist-kunisada-1852Utagawa Kunisada, Ukiyo-e painting from The Tale of Genji, Chapter 8 ‘Hana no En’, Under the Cherry Blossoms, 1852

It’s winter in the real world, but it’s spring in this Ukiyo-e print. Spring: the sweetest time of the year – a time when nature offers its lushness and greenness to all souls sensitive towards its beauty, a time when even the dullest of people may find in their souls a newly awaken dreamy sentiments. Yellow bridge, court ladies in vibrant silks and lavishing kimonos. Flowers everywhere; in the sky, in their hair, on their fabrics. Large and white, the full moon is low on the horizon. Cherry tree protrudes in the composition, giving the false impression of haughtiness. Like a beautiful woman showing off her figure and shining pearls around her neck, this cherry tree stretches out its branches, one might think heavy from all those lush pink blossoms, but no – their petals are as light and delicate as the moonshine which caresses them, and their beauty is as pure as the first snow.

The most intense beauty hides in the upper right corner: dark night sky becomes darker, cherry blossoms turn a more vibrant pink, and then a rain of the gorgeous pink petals, observed by the moon, shining with stillness. There’s still chillness in spring nights, but perhaps there’s a soft warm wind announcing the Summer days. What gentleness – petals touching the porcelain skin and elaborate hairstyles of the ladies. One holds a fan, while the other tries to catch the blossoms in her golden basket – how very wise, for the next day they all might be gone, and the awareness of that transient beauty is what stirs the soul.

As you all know, ‘Hanami’ or the custom of watching cherry or plum blossoms is a very important thing in Japan, but what I find even more exciting is ‘yozakura’ (‘night sakura’); watching the cherry blossoms at night. Then, for the occasion, the trees are decorated with brightly coloured paper lanterns. Oh, how magical would it be to sit silently and admire the cherry blossoms at night, with someone who’d appreciate their beauty as much as I would. Then, I would speak nothing, think nothing, just allow myself to be fully immersed in that beauty, and these beautiful verses written by Matsuo Basho centuries ago, would come to my mind:

There is nothing you can

see that is not a flower; there

is nothing you can think that

is not the moon.

Utagawa Kunisada, Yozakura Cherry Blossom at Night, 1848. Oban triptych, photo found here.

Kunisada (1786-1864) was an Edo period artist whose Ukiyo-e prints reflect the culture of Japan just prior to its opening to the West. In his own time, he was more popular that Hiroshige and Hokusai. Stylistically, he follows the realistic approach of his teacher Toyokuni, and was specially interested in portraying kabuki actors (those prints are known as ‘Yakusha-e’) and making ‘Bijin-ga’ – pictures of beautiful women, usually courtesans, but occasionally girls from bourgeois households. This particular woodcut shows the scene from Murasaki’s novel ‘The Tale of Genji’, that is, from the Chapter 8 which is titled ‘The Festival of the Cherry Blossoms’ and you can read it here.

‘sleepless night —

the moon becomes

more familiar.‘(*)

Japanese Ukiyo-e Prints

26 Jun

Ukiyo-e is a genre of woodblock prints that flourished in the Edo period (1603-1867). Term ‘Ukiyo-e’ literally means ‘pictures of the floating world‘ as it was meant to describe the hedonistic lifestyle of the merchant class that benefited from the rapid economical growth in Edo (modern Tokyo). Merchant class, previously at the bottom of the social order, now had enough wealth to indulge in all sorts of pleasures; from kabuki theatre to services of courtesans and geishas. Courtesan culture also flourished in Edo period, and male wanderers could find a refined female company in the ‘pleasure quarter’. On the other hand, geishas are female entertainers and hostesses, skilled in different areas such as calligraphy or dance. Courtesans were describes as ‘colourful flowers’ while geisha women were called ‘willows’ because of their subtlety, strength, and grace. In addition to all this, merchant class had enough money to afford a new art or design items, depends on how you look at it. I suppose some people really appreciated the beauty of Ukiyo-e prints while others merely enjoyed having them on the wall.

Ukiyo-e prints have a wide range of subjects and styles, depending on the artist and on the time period. The pictures below are my personal favourites, though I’ve also wanted to present you the variety of these artworks and Japanese culture. Woman Bathing Under Flowers is perhaps my top-favourite. However, as a true European my mind instantly compares these works with European artworks of the time. I mean, some of these works were created in the early nineteenth century – the same years that Jane Austen’s novels were written. It’s so exciting to encounter a different era, a different culture, if not in person, than through these lavishing woodblock prints – overwhelmingly simplistic, but dynamic, colourful, scenes from the world gone by.

The great diversity that excites me, and I hope you too, can be traced through the work of the various artists – from the famous Hokusai’s waves or Hiroshige’s nocturnal landscapes to Keisai Eisen’s ‘beautiful women’, Sharaku’s kabuki actors, Torii Kiyonaga’s mystical night scenes, to my personal favourite – Utagawa Toyokuni who, as you can see, focused on everyday scenes, especially women’s activities – bathing, applying makeup, calming hair, strolling in the rain (probably worried for the hairstyle), playing with dogs or cats, dancing or showing off in front of your friends – typical activities of the modern women. It seems like time changes, but people, their worries, fears and passions usually stay the same. Imagine, Utagawa Kunisada’s beauties in the print ‘Autumn moon over Miho’ admired the very same moon we see today.

I must add that Ukiyo-e prints were hugely influential on European art, especially on the Impressionists and Postimpressionist such as Vincent van Gogh who admired some of Hokusai’s prints and also the Japanese way of living.

 

Utagawa Toyokuni I (1769-1825) - Woman Bathing Under Flowers. Ukiyo-e woodblock print, 18001800. Utagawa Toyokuni I (1769-1825) – Woman Bathing Under Flowers, Ukiyo-e woodblock print

Utagawa Toyokuni I (1769-1825) - Woman in Rain with Umbrella.  Ukiyo-e woodblock print, 18001800. Utagawa Toyokuni I (1769-1825) – Woman in Rain with Umbrella

 

Utagawa Toyokuni I (1769-1825) - Komachi at Sekidera ca.1810, from the series Modern Girls as Seven Komachica. 1810. Utagawa Toyokuni I (1769-1825) – Komachi at Sekidera, from the series ‘Modern Girls as Seven Komachi’

Utagawa Toyokuni I (1769-1825) - Woman Holding a Cat, Ukiyo-e woodblock print, 18001800. Utagawa Toyokuni I (1769-1825) – Woman Holding a Cat

Utagawa Toyokuni I (1769-1825) - Kaoru of the Sugata-Ebiya, kamuro Nioi and Tomeki. Ukiyo-e, 18001800. Utagawa Toyokuni I (1769-1825) – Kaoru of the Sugata-Ebiya, Kamuro Nioi and Tomeki

Utagawa Toyokuni I (1769-1825) - Beauty under Maple and Ginkgo Leaves, 18111811. Utagawa Toyokuni I (1769-1825) – Beauty under Maple and Ginkgo Leaves

Youshuu Chikanobu (1838-1912), Picture of the Hell CourtesanYoushuu Chikanobu (1838-1912), Picture of the Hell Courtesan

Woman Applying Cosmetics, early 19th century, Korii KoyinagaKorii Koyinaga – Woman Applying Cosmetics, early 19th century

Woman washing her hair with an attendant, Mid 18th century, Katsukawa ShunsuiWoman washing her hair with an attendant, Mid 18th century, Katsukawa Shunsui

Two women gazing at the reflection of the moon, Early 19th century , Kubo ShunmanTwo women gazing at the reflection of the moon, Early 19th century , Kubo Shunman

Seven classes of women. Color and gold on silk.  Early 19th century, Japan, Artist - Utagawa ToyohiroSeven classes of women. Color and gold on silk. Early 19th century, Utagawa Toyohiro

A Leopard Drawn from Life- Kunimaro, 1860, Japan1860. A Leopard Drawn from Life – Kunimaro

Beauties in the Snow By Utamaro Kitagawa, JapanBeauties in the Snow By Utamaro Kitagawa (1753-1806)

1796-99. The Courtesan Ichikawa of the Matsuba Establishment - Utamaro1796-99 The Courtesan Ichikawa of the Matsuba Establishment – Utamaro

1797. Hairdresser from the series Twelve types of women's handicraft - Utamaro1797 Hairdresser from the series Twelve types of women’s handicraft – Utamaro

1800s Katsushika Hokusai - Courtesan asleepLate 18th/early 19th century, Katsushika Hokusai – Courtesan asleep

1767. Two Lovers Beneath an Umbrella in the Snow - Suzuki Harunobu1767 Two Lovers Beneath an Umbrella in the Snow – Suzuki Harunobu

1794. The actor Otani Oniji II as Yakko Edobei - Sharaku1794 The actor Otani Oniji II as Yakko Edobei – Sharaku

1820. Hokusai - Still Life1820 Hokusai – Still Life

1826-33. The Great Wave off Kanagawa, Hokusai's most famous print, the first in the series 36 Views of Mount Fuji1826-33 The Great Wave off Kanagawa, Hokusai’s most famous print

1857 Sudden shower over Shin-Ohashi bridge and Atake – Hiroshige

1857 The Plum Garden in Kameido – Hiroshige

1830s Utagawa Kunisada - Autumn moon over Miho1830s Utagawa Kunisada – Autumn moon over Miho

1858. Hiroshige - The Sea at Satta, Suruga Province, from the series 'Thirty-six Views of Mount Fuji'1858 Hiroshige – The Sea at Satta, Suruga Province, from the series ‘Thirty-six Views of Mount Fuji’

1834. Hiroshige - Full Moon over a Mountain Landscape1834 Hiroshige – Full Moon over a Mountain Landscape

1834. Hiroshige - Heavy Rain on a Pine Tree1834 Hiroshige – Heavy Rain on a Pine Tree