Production of the Ukiyo-e: Difference between revisions

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== Roles ==
== Roles ==
The production of a ukiyo-e is centered around artistic collaboration and division of labor. The Western notion of the isolated artist and individual artistic genus is less culturally relevant in 17th–19th century Japan. Painters, print designers, woodcarvers, writers, publishers, and more form the network of consciously interweaved participants in the ukiyo-e art world.
The "hanmoto" is the publisher of the ukiyo-e. Because the ukiyo-e art world is a more commercial, accessible one as opposed to segmented into the high art society, the production of the ukiyo-e is highly influenced by market demands and needs. The hanmoto is the player who commissions the work and oversees its completion and subsequent distribution.
Once the hanmoto decides to commission a profitable artwork, the "eshi," or the painter,


== Woodblock Techniques ==
== Woodblock Techniques ==


== Distribution ==
== Distribution ==

Revision as of 02:24, 4 December 2020

Roles

The production of a ukiyo-e is centered around artistic collaboration and division of labor. The Western notion of the isolated artist and individual artistic genus is less culturally relevant in 17th–19th century Japan. Painters, print designers, woodcarvers, writers, publishers, and more form the network of consciously interweaved participants in the ukiyo-e art world.

The "hanmoto" is the publisher of the ukiyo-e. Because the ukiyo-e art world is a more commercial, accessible one as opposed to segmented into the high art society, the production of the ukiyo-e is highly influenced by market demands and needs. The hanmoto is the player who commissions the work and oversees its completion and subsequent distribution.

Once the hanmoto decides to commission a profitable artwork, the "eshi," or the painter,


Woodblock Techniques

Distribution