Production of the Ukiyo-e

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, would design the artwork in color. They would then create a final sketch of the design in black ink on a piece of paper as a preparatory drawing for the woodcarver to follow, along with notes on the colors to be used; this sketch is called the "hanshita-e." The eshi is the central figure in the production of the ukiyo-e and is generally the one to achieve fame and prominent status. Ukiyo-e artists like Utawaga Hiroshige would be an example of the eshi.

The woodcarver, or the "horishi," would use the hanshita-e to carve out the design on a piece of wood (usually cherry wood), creating the key block known as the "omahan." Depending on the skill of the horishi, varying levels of detail could be achieved. For instance, delicate and precise renditions of hair requires a high level of expertise, carved in one-millimeter widths.