• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.268-276
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• 2023

Ukiyo-e, a pivotal facet of Japanese art, had a profound impact on Western art during the 19th century, contributing to the emergence of Impressionism and Post-Impressionism. Notably, Katsushika Hokusai's "Great Wave" remains an enduring masterpiece. Ukiyo-e's historical trajectory is intricately linked to the socio-cultural context of its time. Japan's early artistic influences derived from China, evolving through the Nara and Heian periods. Ukiyo-e emerged from the Yamato-e tradition, characterized by its transition from religious themes to secular subjects. Zen Buddhism's influence during the Muromachi Shogunate shifted focus to ink wash painting, which eventually became accessible to the masses. The Azuchi-Momoyama period introduced lavish, colorful works. The Edo Shogunate upheld Kano School for the elite, while folklore painting gained popularity among the commoners, leading to the creation of Ukiyo-e. Ukiyo-e diversified its subjects, including beauty, geisha, sumo, landscapes, and more. The Asakusa district's "Shin-Yoshiwara" added to its vibrant themes. By the late 19th century, Ukiyo-e transcended its roots, encompassing landscapes, wildlife, and beyond. I explore Ukiyo-e's aesthetics and its influence on Impressionism, focusing on "The Three Masters of Ukiyo-e" - Kiyotagawa Komaro, Katsushika Hokusai, and Utagawa Hiroshige.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.143-151
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• 2009

Ukiyo-e is the representative genre-painting of Japan, dominant during the 17th century Edo-Period (1503-1867). Ukiyo-e is mainly focused on expressing the lives of geishas, sumo wrestlers, and kabuki characters, who were the center of the Japanese amusement culture, and gained popular acceptance in Europe when it was first introduced in the late 19th century in the form of Japonism, having significant influence and impact on the impressionist artists of the time and on the design of western cloths. In this papers, we will be primarily conducting a historical study on the development of the Ukiyo-e, a representative genre-painting of Japan, and conduct a in-depth analysis of pattern expressed in the Kosode of women, represented through various different works of art. In order to conduct a thorough analysis of pattern expressed in Ukiyo-e, we collected over 255 pieces of materials from existing foreign paintings as well as museums in the National Museum of Tokyo, Edo Museum, and the Harajuku Museum of Ukiyo-e. This papers seeks to analyze and classify patterns expressed in the works of Ukiyo-e and research the characteristics express in the pattern to contribute to the development of fabrics in the modern fashion design industry.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.114-126
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• 2009

The purpose of this study is to analyze the art characteristics of Japonism expressed in Art Nouveau jewelry. This study also provided an opportunity to seek for the development direction of contemporary jewelry design for the future. The influence of Japanese arts in Art Nouveau jewelry, was mostly from Ukiyo-e, an art form from the Edo Dynasty in Japan. Japanese arts soon inspired the origination of Art Nouveau across Europe in the late 19th century. And the scope of its infuluence is shown in jewelry which created by contemporary painters and designers. Ukiyo-e, a folk painting was created from multi-color wooden printmaking emerged many Japanese art collectors, including Samuel Bing and Arthur Lasenby Liberty. This became a source of new inspirations for Degas, Monet, Gogh and the origin of Japonism. The layout techniques that used perspectives higher than eye level and that extremely cut or expanded major objects for emphasis were typical Ukiyo-e characteristics. The result of this study is found out by showing the evidence that influence of this Ukiyo-e's method came up with specificity as planity, naturality, decoration and express on the Art Nouveau jewelry.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.76-97
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• 2010

The purpose of this study is to review the influence of Ukiyo-e on the design of European Paintings of the $19^{th}$ century and the expression of the design of Kosode design in Edo-era. We collected data from the actual study of visiting Museums and other theories and visual materials through literature review. Then, we analyzed the data. The result came out that Ukiyo-e, which is the genre painting of Edo-era, provided the new vision and the new way of expression to the European Paintings of the $19^{th}$ century. In the same way, the result also indicated that Ukiyo-e similarly influenced on the design of Kosode. For example, the study showed that the patterns of Kosode, such as flower, bridge, fun, wave, Lotus flower, stripe, oval, plaid, were used in the works of European artists in the $19^{th}$ century. The Ukiyo-e styles include Kan Bun style, Dan-Gawari style, Back facing style, Two-Section Segmentation style, and Folding screen style, with the identity of Japan and Japanese unique nature and landscapes. Thus, this study proved the design of Kosode to be the frontier of both European and Japanese arts, by examining Ukioyo-e's plastic characteristics, its composition & arrangements, and its subjects & objects which were samely revealed in Kosode design and European Art in nineteenth century.

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.96-97
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• 2005

• Cartoon and Animation Studies
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• s.37
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• pp.413-437
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• 2014

As the public Japanese art, print can be said to have started from Ukiyo-e print of Edo period(江戶時代, 1603~1867). Ukiyo-e(浮世繪) print, which 3 persons jointly produce, henceforth has gradually declined since the meiji period(明治時代, 1868~1912) due to the development of new print technique and introduction of western art. Since then, during the daiso period(大正時代 1912~1926), creative print movement grew up. Creative print is, differently from Ukiyo-e print, to be produced by one person, from the original picture to print, focusing on creating the artist's own work by being the main agent of the work. During before and after 1900s, print was evaluated low in Japan, compared to western painting, sculpture, etc. Nevertheless, the facts that several Japanese print artists received awards from international exhibits since 1950s became a big topic internationally, which became an opportunity to hold Tokyo International Print Biennale in 1957 in Japan, the first international art festival. From then on, print was recognized as an art genre while new recognition on it was gradually accepted also in Japan. In 1970, a controversy on it arose, while the characteristic of print as a medium of modern art became strong, accordingly, a controversy on it arose. However, in 1980, it firmly established itself as an art genre by overcoming the crisis through various efforts in the dimension of print artists and university education. Since then, print artists who produce new works with completeness by applying traditional technique and modern expression mode emerged, and until now Japanese modern print art is highly recognized by the world through the continuous overseas activities, research on print art, and cultivation of young print artists. This research looked back on the historical process when Japanese modern print art was created, which represents Asia, and investigated the cause that it could have win an international fame.