The term "pictures of the floating world," or ukiyo-e, refers to a prominent and very influential style of Japanese painting. This artistic movement, which began in the Edo period (1603–1868), is most recognized for its vivid woodblock prints, including historical settings, kabuki performers, gorgeous women, and landscapes. Come along as we explore the history, creation process, and enduring influence of the fascinating world of Ukiyo-e. Woodblock prints often include text, inscriptions, and seals that provide details about the subject matter and the publishing date.  

About the Artist   

Yoshitsuya was the artist who created the poster depicting "Sanada Yoshitada overcoming Matano Kagehisa before a waterfall." Born in 1822, he worked as a printmaker, illustrator, and tattoo artist in Edo, now part of Tokyo. At 44, Yoshitsuya passed away in 1866.   

Each artist produced only some of the woodblock prints. The original design's illustrator, who collaborated with a group of printers and woodcarvers whose identities were seldom documented, signed a print. Apprenticeship at the studio of a renowned artist served as the training ground for woodblock print artists. One of the most significant ukiyo-e artists of the era, Kuniyoshi Utagawa (1798–1861), was Yoshitsuya's teacher.   

Upon beginning their apprenticeship, a pupil assumed a new name, including the one syllable of their master's name. Alongside Yoshitsuya, other artists such as Yoshitoshi, Yoshiiku, and Yoshitora trained in Kuniyoshi's famous school.  

The Signature of the Artist  

We would now search for the artist's handwritten signature to verify that a modern print is authentic. On a Japanese ukiyo-e print, however, the signature is not handwritten; instead, it serves to identify the identity of the artist who created the image.  

How Were Woodblock Prints Made?   

To create a Ukiyo-e woodblock print, at least four people had to collaborate. They consisted of a printer, a block cutter, an artist or designer, and a publisher.   

• The publisher would hire the artist to create a unique design and receive a shita-e, or preliminary sketch, from the artist.  
• The Nikko, or block copyist, traced the shita-e sketch onto a fragile piece of paper, then pasted it face down onto the cherry wood woodblock.  
• The fundamental block, which printed the black outline to be followed when cutting the color blocks, was then created by the printer, which sliced through the paper until only the raised lines of the design remained. 
• The cutter then chiseled the design into the woodblock. After inking the block, the impression is transferred to a sheet of moistened paper known as a "key print" by rubbing it.  

After deciding the colors to utilize in the print, the artist carves a distinct block for each color. Every color was cut on its block, usually up to twenty, though occasionally, two colors could share a block, providing enough space between them. When the printer received the blocks, they used mulberry paper to rub the dyes onto them and transfer each impression. Most likely, prints were produced in batches of 200 at a time. Subsequent batches were made on demand. A popular image could run to thousands of copies.   These prints were relatively affordable artwork within the reach of middle-class households throughout Japan and the world.  

Ending   

Ukiyo-e woodblock prints showcase Japan's Edo period's artistic and cultural richness, offering a fascinating glimpse into the collaborative creation process and historical significance of the subjects depicted.