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his own illustrations to make it his own. A common subject
Moronobu worked with was the depiction of women in their daily lives. He did this right up until the end of the 19th century, or in other words, the end of the Edo period. An example would be his contribution of illustrations for Hyankunin isshu zōsanshō (One Hundred Poets with Portraits and Commentaries). This publication produced an argument on whether it was designed for women or not. Moronobu's illustrations can also be found in The Pictorial Survey, drafted by Ochikochi Dōin. The images depicted include long military processions and travelers of all ages and stations. As he continued to do prints the subjects, scenes, colors, composition, and even his line work changed with adaptation of techniques and the audience that was interested in the current activities displayed.
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Despite his popularity with ukiyo-e prints, his illustrations found in collaborations with other artists and in printed books are what kicked off his career. In some cases
Moronobu would take the images and subjects from other prints and illustrations made in Kyoto but would replace the images with
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from 1672, although earlier works are yet possible to surface. By the mid-1670s
Moronobu had already become the most important ukiyo-e printmaker, a position he maintained until his death. He produced more than 100 sets of illustrations, perhaps as many as 150, with around 20 being of an erotic
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Moronobu assimilated inchoate ukiyo-e designs by previous artists, creating the first truly mature form of ukiyo-e, in a style of great strength and presence that would set the standards for generations of artists who followed.
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established, in 1926, a basis for crediting some of the designs previously given to
Moronobu as the work of Sugumura Jihei). Very few of Moronobu's single-sheet prints have survived, and most, if not all, are unsigned.
158:, Moronobu was the son of a well-respected embroiderer of rich tapestries who produced it for the use of temples and wealthy patrons. His initial works consisted designs for embroidery. After moving to
170:-style painting. He thus 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
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189:. This painting was completed around the 17th century, depicting a beautiful woman wearing a kimono turning around. It was adopted as a stamp design around 1948 and became popular.
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and paintings in the late 17th century. He consolidated the works of scattered
Japanese art styles and forged the early development of ukiyo-e.
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nature. Though it is difficult to attribute to him many unsigned examples (for example, the scholar
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in the 1660s, Moronobu, who had likely learned skills from his father's craft, and studied both
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and it was meant for children which shows that it had spread among the general population.
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The earliest known illustration of
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Moronobu's work is held in numerous museum collections around the world, and in the
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Late 1670s–early 1680s; Hishikawa
Moronobu (1618-1694); Woodcut, sumi ink on paper
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138:; 1618 – 25 July 1694) was a Japanese artist known for popularizing the
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422:, ed., Biographical Encyclopedia of Artists, v.3 (Facts on File, 2005): 473.
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Resig, John. "Hishikawa
Moronobu". Ukiyo-e Search, 2012. 23, February 2015.
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warriors with simple descriptions per artwork. The title includes the word
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Lyons, Martyn. "Books: A Living
History". Getty Publishing, 2011, p 161.
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Japan in print : information and nation in the early modern period
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The female as subject : reading and writing in early modern Japan
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Hishikawa's birth date is sometimes placed as late as c1625; see
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476:"Hishikawa Moronobu | Biography, Art, & Facts | Britannica"
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by
Moronobu was published. It features heroic popular tales of
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Courtesans parading with servants while holding umbrellas
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573:"Bushidō: An Ethical and Spiritual Foundation in Japan"
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Masters of Japanese Print, Their World and Their Work
648:. Berkeley, Calif.: University of California Press.
454:. London: Thames & Hudson. pp. 42, 46, 49.
804:More examples of Moronobu's work can be found at
500:"菱川師宣の浮世絵「見返り美人図」を解説！見どころはどこ？ | thisismedia"
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544:. Tokyo: Shogakukan. 2012. Archived from
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604:9781929280759
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548:on 2007-08-25
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234:In 1685, the
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172:Kanbun Master
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114:Japanese name
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2022:Ligne claire
2020:
1988:
1982:
1971:
1962:Shijō school
1954:
1947:
1938:Kyoto school
1913:Rinpa school
1815:Toko Shinoda
1785:Tetsuya Noda
1713:Sosaku-hanga
1711:
1710:
1649:Hasui Kawase
1625:
1624:
1616:20th century
1524:Adachi Ginkō
1317:Torii school
1201:Ōoka school
1105:Keisai Eisen
970:
791:Kabuki drama
790:
782:
744:. Retrieved
731:
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645:
639:
594:
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581:the original
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550:. Retrieved
546:the original
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127:
126:
121:
56:Awa Province
2069:1694 deaths
2064:1618 births
2016:Art Nouveau
1928:Hara school
1923:Akita ranga
1918:Kanō school
1860:Reika Iwami
1755:Masao Maeda
1735:Itow Takumi
1669:Ohara Koson
1639:Itō Shinsui
1559:Ogata Gekkō
1549:Sawa Sekkyō
1240:Hirosada II
951:Shiba Kōkan
707:: 129–140.
93:Nationality
2053:Categories
1627:Shin-hanga
1607:Yokohama-e
1602:Nagasaki-e
1597:Kamigata-e
1235:Hirosada I
577:Nippon.com
552:2012-03-04
538:"Moronobu"
523:2019-11-17
485:2023-12-21
406:References
150:Early life
73:1694-07-25
50:Hodomura,
1990:Japonisme
1765:Maki Haku
1590:By region
1265:Yoshitaki
1120:Tsukimaro
723:2447-7125
672:cite book
621:cite book
613:993676498
246:古今武士道絵つくし
142:genre of
122:Hishikawa
1250:Kunimasu
1225:Ashiyuki
796:Archived
664:63813517
132:Japanese
112:In this
96:Japanese
36:Bijin-ga
1983:Ukiyo-e
1956:Nihonga
1901:Related
1876:Others
1544:Sharaku
1260:Shunshi
854:Ukiyo-e
847:General
386:Bushido
284:Gallery
266:bushido
261:samurai
236:ukiyo-e
208:abuna-e
156:Edo Bay
140:ukiyo-e
118:surname
105:ukiyo-e
87:, Japan
721:
662:
652:
611:
601:
458:
317:Shunga
116:, the
83:, now
52:Kyonan
1949:Nanga
746:6 May
300:from
238:book
210:style
136:菱川 師宣
85:Tokyo
60:Japan
1973:Yōga
748:2013
719:ISSN
682:link
678:link
660:OCLC
650:ISBN
631:link
627:link
609:OCLC
599:ISBN
456:ISBN
178:Work
168:Kanō
166:and
164:Tosa
67:Died
47:1618
44:Born
709:doi
160:Edo
120:is
81:Edo
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633:)
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464:.
372:.
338:.
256:)
243:(
130:(
124:.
75:)
71:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
