656:
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263:. They are divided into four periods. The prints of the first two periods are signed "Tōshūsai Sharaku", the latter two only "Sharaku". The print sizes became progressively smaller and the focus shifts from busts to full-length portraits. The depictions become less expressive and more conventional. Two picture calendars dating to as early as 1789 and three decorated fans as late as 1803 have been attributed to Sharaku, but have yet to be accepted as authentic works of his. Sharaku's reputation rests largely on the earlier prints; those from the eleventh month of 1794 and after are considered artistically inferior.
1147:
27:
821:. Sharaku did not, which likely contributed to his failure to find a sufficient audience to succeed. Sharaku shows the skill of a master, despite scant evidence that he had prior experience designing prints. Nonetheless, from the first Sharaku's prints appeared amongst the technical vanguard, with unusually realistic portrayals of their subjects and using extravagant techniques such as the dusting of mica in the backgrounds. From such beginnings, though, the quality of his work quickly fades.
777:
814:, who emphasized the narrative moment of his subjects in the plays depicted, Sharaku focused on the actor's and character's psychology, delivering an "almost caricature-like exaggeration, a heightened sense of theatrical gesture", according to art historian David Bell. Occasionally two figures appear, revealing a contrast of types, as of different facial shapes, or a beautiful face contrasted with one more plain.
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prints with mica backgrounds most likely cost more than the average, though prices can be only speculated due to a lack of records. Values of the prints today vary depending on size, condition, and subjective quality. Prices for them at auction have risen steadily from the turn of the 19th and 20th
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Determining at what prices prints sold is a challenge for experts, as records of hard figures are scanty and there was great variety in the production quality, size, supply and demand, and methods, which went through changes such as the introduction of full-colour printing. How expensive prices can
629:
prints distinguish themselves in
Sharaku's œuvre by having backgrounds of trees or other stage scenery, though a few have empty yellowish ones. Sharaku focuses on transitional poses as before, but the busier designs weaken the effect by drawing attention away from the actors' expressions to other
76:
represented their subjects with an idealized beauty, while
Sharaku did not shy from showing unflattering details. This was not to the tastes of the public, and the enigmatic artist's production ceased in the first month of 1795. His mastery of the medium with no apparent apprenticeship has drawn
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that have invited interpretation as commentary on the decline of
Sharaku's later works and events surrounding his departure from the ukiyo-e world, including speculation that he had been arrested and imprisoned. Ikku published under Sharaku's publisher Tsutaya from late 1794, and the book is the
836:
Ukiyo-e artists had low social status, and what personal details remain in the record tend to be sparse; Sharaku nevertheless presents an exceptional case in the utter absence of these details. Biographers have long searched, but have had no luck in shining light on the identity of
Sharaku. The
62:
actors. Neither his true name nor the dates of his birth or death are known. His active career as a woodblock artist spanned ten months; his prolific work met disapproval and his output came to an end as suddenly and mysteriously as it had begun. His work has come to be considered some of the
996:; an unnamed Dutch artist; or actually three people. Yet another proposed identity is the author Santō Kyōden; Tani Minezō points out that Sharaku's brief career is concurrent with Kyōden's temporary break from writing gesaku due to grief over the sudden death of his wife Kikuzono around 1793.
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Just over 600 copies of
Sharaku's prints are known; only about 100 remain in Japan. As they are in collections scattered throughout the world general research on Sharaku's works has followed different threads in Japan and the West has proved time-consuming. Japanese researchers have better
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knowledge of and access to documents and literature related to
Sharaku's time and conditions. On the other hand, Sharaku's works tend to be in Western collections, including prints for which only one copy is known—of which there are about three dozen. Sharaku's
218:
theatres faced strict control over their perceived excesses and limits on actors' incomes. Late Edo-period art nevertheless flourished, and new works and popular actors continued to rapidly appear in kabuki theatre, where realistic performances came in vogue.
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who also worked in a relatively realistic style presented their subjects in a positive, beautifying way. Sharaku did not avoid depicting less flattering aspects of his subjects—he was the "arch-purveyor of vulgarities" to 19th-century art historian
1017:. An inscription on Utamaro's portrait of 1803 appears to target criticism at Sharaku's approach; appearing eight years after Sharaku's supposed disappearance suggests that Sharaku's presence was still somehow felt, despite his lack of acceptance.
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The Edo public reacted poorly to
Sharaku's portraits. More copies of the larger, first-period works remain, suggesting they enjoyed greater popularity than the later works; most for which only a single copy remains come from the later periods.
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Sharaku was able "to depict, within a single print, two or three levels of character revealed in the single moment of action forming the climax to a scene or performance". In contrast to the static actor prints of a contemporary artist such as
475:
prints are all full-body portraits of a single actor against a yellowish background, with the exception of the portraits of Ōtani Oniji II as
Kawashima Jibugorō and Ichikawa Omezō I as Tomita Hyōtarō, which are on grey backgrounds.
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was not a published book, but a manuscript that was hand-copied over generations, with great variations in content, some of which has fueled speculation as to
Sharaku's identity. including a version that calls Sharaku "Hokusai II".
1217:) to reduce the date span to 17 months from 1794 to 1795, which Henderson and Ledoux further narrowed to 10 months in those years. Such dates have been determined based on comparative research into theatre programmes and chronologies.
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popularity the prints have attained feeds interest in the mystery, which in turns contributes further to interest the prints. Of the more than fifty theories proposed, few have been taken seriously, and none has found wide acceptance.
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Rare calendar prints from 1789 and 1790 that bear the pseudonym "Sharakusai" have surfaced; that they may have been by
Sharaku has not been dismissed, but they bear little obvious stylistic resemblance to Sharaku's identified work.
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Identifying the period into which Sharaku's work falls posed difficulties that have since become clear. The prints bear no dates. Kurth first proposed that they spanned the nine years of 1787 to 1795. Further research led
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wrote in 1802 of ukiyo-e artists, and included an illustration of active and inactive artists and their schools as a map; Sharaku appears as an inactive artist depicted as a solitary island with no followers. Essayist
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may have motivated him to choose a name to distance his actor portraits from his other work. As ukiyo-e artists normally do not carve their own woodblocks, a change in carver could explain differences in line quality.
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believed that objective realism was not the only valid means of expression. He found Sharaku "repudiated normalcy" and departed from strict realism and anatomical proportions to achieve expressive, emotional effects.
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came to favour a greater emphasis on the individuality of the actors, and buyers came to expect pictures with the actors' likenesses, rather than the stereotyped images of the past, such as those by the once-dominant
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Energy and dynamism are the primary features of Sharaku's portraits, rather than the idealized beauty typical of ukiyo-e—Sharaku highlights unflattering features such as large noses or the wrinkles of aging actors.
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backgrounds, made with a precise, fine line and simple colour scheme. There are printing variants of these early prints, suggesting they went through multiple printings and thus sold relatively well.
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in the background ink was considered too opulent, and Tsutaya had half his fortune seized. Penalties for other publishers included the confiscation or destruction of their printing blocks.
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centuries: for a print with a mica background sold in Japan prices jumped from a typical 15 yen (roughly a third of a banker's initial monthly salary) in 1895 to 300 yen in 1915. Sharaku's
1079:"Sharaku designed likenesses of kabuki actors, but because he depicted them too truthfully, his prints do not conform to accepted ideas, and his career was short, ending after about a year."
946:. Though known primarily for his landscapes of the 19th century before Sharaku's arrival Hokusai produced over a hundred actor portraits—an output that ceased in 1794. Hokusai changed his
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prints became common, printed with a large number of woodblocks, one for each colour. Critics have come to see the late 18th century as a peak period in the general quality of the work.
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poet by the same name appear in a 1776 manuscript and a 1794 poetry collection. No evidence aside from proximity in time has established a connection with the artist Sharaku. A
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actor Saitō Jūrōbei. The book ignited international interest in the artist, resulting in a reevaluation that has placed Sharaku amongst the greatest ukiyo-e masters. In his
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The Kansei Reforms put restrictions with severe penalties on luxurious displays by the common people. Tsutaya's publication of an Utamaro portrait of a woman printed with
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in the backgrounds to produce a luxurious glittering effect. In contrast to earlier actor prints, which used stereotyped features and poses of anonymous actors, these
890:. No further information is known of either the disciple or her husband. A resemblance of Sharaku's kinetic kabuki portraits to those of Osaka-based contemporaries
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portraits of kabuki actors. His compositions emphasize poses of dynamism and energy, and display a realism unusual for prints of the time—contemporaries such as
845:
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much speculation, and researchers have long tried to discover his true identity—amongst the dozens of proposals, some suggest he was an obscure poet, others a
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theatre; connections have been deduced from numerous documents that suggest to some researchers that Sharaku was a Noh actor serving under the lord of
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declared, "Sharaku stands on the highest level of genius, in a greatness unique, sublime, and appalling." The first in-depth work on Sharaku was
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in Edo. Other similar theories, some discredited, include those that Sharaku was Noh actor Saitō Jūrōbei, Harutō Jizaemon, or Harutō Matazaemon.
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prints are more typically Sharaku in that they focus on the upper body and facial expressions against an empty background, this time yellowish.
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at the Miyako-za. By this period the artistry in Sharaku's work has noticeably deteriorated and displays less of Sharaku's individual touch.
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Yamaguchi, Keizaburō (2002). "Tōshūsai Sharaku no Sakuhin to Sono Kenkyū". In Asano, Shūgō; Suwa, Haruo; Yamaguchi, Keizaburō (eds.).
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Sharaku's work was popular among European collectors, but rarely received mention in print until German collector Julius Kurth's book
824:
To Jack Ronald Hillier, there are occasional signs of Sharaku struggling with his medium. Hillier compares Sharaku to French painter
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manuscript that specifies the seventeenth day of the fifth month of 1806, and that his grave was marked in Kaizenji Temple in
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Most ukiyo-e artists gained apprenticeship experience and connections by working for an artistic school, such as the Torii or
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2483:. Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan: 27–38.
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prints to employ black mica is that of Ichikawa Komazō III as Kameya Chūbei and Nakayama Tomisaburō as Umegawa from
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828:, who he believes "has to struggle to express himself, hampered and angered by the limitations of his draughtsmanship".
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130:(modern Tokyo). Its audience, themes, aesthetics, and mass-produced nature kept it from consideration as serious art.
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prints, 7 are full-length portraits of pairs of actors; the other is of the announcer at Miyako-za—the only full-body
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be considered is also difficult to determine as social and economic conditions were in flux throughout the period.
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or scenes from kabuki theatre, and most of the rest are of sumo wrestlers or warriors. The prints appeared in the
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prints make up the second period from the seventh and eighth months of Kansei 6 (1794). 16 prints are from the
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prints make up the third period (1794–1795). From the eleventh month of Kansei 6, 18 of the prints come from
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at the Kiri-za in the eighth month; and one portrait of Shinozuka Uraeimon as the announcer at Miyako-za.
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Tanaka, Hidemichi (1999). "Sharaku Is Hokusai: On Warrior Prints and Shunrô's (Hokusai's) Actor Prints".
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wrote in the early 19th century that Sharaku "should be praised for his elegance and strength of line".
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26:
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Others proposed identities include Sharaku's publisher Tsutaya or Tsutaya's father-in-law; the artists
141:
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Fitzhugh, Elisabeth West (1979). "A Pigment Census of Ukiyo-E Paintings in the Freer Gallery of Art".
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The intercalary 11th month of the 6th year of Kansei fell from 23 December 1794 to 20 January 1795.
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In his actor prints Sharaku usually depicts a single figure with a focus on facial expression. To
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The Prints of Isoda Koryūsai: Floating World Culture and Its Consumers in Eighteenth-century Japan
917:. Amongst these documents are those that suggest Sharaku died between 1804 and 1807, including a
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theory and aesthetics from 1776 includes two poems attributed to a Sharaku, and references to a
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Sharaku has been speculated to have been either a Noh actor, a poet from Western Japan, or even
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1075:, the oldest surviving work on ukiyo-e, contains the oldest direct comment on Sharaku's work:
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prints make up the fourth period from the first month of Kansei 7 (1795). 3 prints come from
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document of 1790 records the name Katayama Sharaku as husband of a disciple of the sect in
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were a major form of the genre. Ukiyo-e art was aimed at the merchants at the bottom of
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20:
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The 11th month of the 6th year of Kansei fell from 23 November to 22 December 1794.
942:"), and Sharaku's prints came during an alleged period of reduced productivity for
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The 8th month of the 6th year of Kansei fell from 26 August to 23 September 1794.
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6 (in 1794). They depict actors from kabuki plays performed at three theatres:
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The 1st month of the 7th year of Kansei fell from 19 February to 20 March 1795.
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Over 140 prints have been established as the work of Sharaku; the majority are
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Closely Watched Films: An Introduction to the Art of Narrative Film Technique
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Sharaku's Japanese Theatre Prints: An Illustrated Guide to his Complete Work
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The 7th month of the 6th year of Kansei fell from 27 July to 25 August 1794.
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Ichikawa Komazō III as Kameya Chūbei and Nakayama Tomisaburō as Umegawa
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dozens of times throughout his long career—government censorship under the
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from the 17th to 19th centuries. The artform took as its primary subjects
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Though disputed, Sharaku's prints have been said to resemble the masks of
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The 5th month of the 6th year of Kansei fell from 29 May to 26 June 1794.
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Japanese Women Novelists in the 20th Century: 104 Biographies, 1900–1993
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Iwata, Hideyuki (2013). "Kenkyū Nōto: "Tōjūsai" no Yomikata ni tsuite"
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Japanese Masters of the Colour Print: A Great Heritage of Oriental Art
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in Paris in 2009, setting a record auction price for a Sharaku print.
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era (1789–1801), when the nation faced hard economic times that the
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Nakamura Nakazō II as the farmer Tsuchizō, actually Prince Koretaka
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appeared in 1910. Kurth ranked Sharaku's portraits with those of
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179:"large-headed picture" in the 1760s. He and other members of the
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25:
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at the Kawarazaki-za; 4 are of sumo wrestlers, one of which is a
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Sharaku's Ichikawa Ebizō IV appears on a kite on a page of
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1153:(1794) set a record price for an ukiyo-e print sold at auction.
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of a single subject in Sharaku's œuvre. The only one of these
1326: — 25 by 36 centimetres (9.8 in × 14.2 in)
1320: — 15 by 33 centimetres (5.9 in × 13.0 in)
1314: — 23 by 33 centimetres (9.1 in × 13.0 in)
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127:
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214:. Some of the policies restricted extravagant fashions, and
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In pursuit of Sharaku: Why did this genius artist disappear?
2668:. Translated Mark A. Harbison (Revised ed.). Kodansha.
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Schierbeck, Sachiko Shibata; Edelstein, Marlene R. (1994).
2647:[Research Note: About the Reading of a "Tōjūsai"].
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Nakamura Noshio II as Konohana, Daughter of Ki no Tsurayuki
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1455:「これは歌舞伎役者の似顔をうつせしが、あまり真を画かんとて、あらぬさまにかきなせしば長く世に行われず一両年にて止む」
2366:"Print by Japan's Toshusai Sharaku sold for record price"
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1066:; the accompanying text is filled with puns, jargon, and
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prints make up the first period from the fifth month of
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at the Kawarazaki-za in the seventh month; 11 from the
198:
Tōshūsai Sharaku's works appeared in the middle of the
1291:
159:
31:Ōtani Oniji III in the Role of the Servant Edobei
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2712:
Ukiyo-e: An Introduction to Japanese Woodblock Prints
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has further fueled the idea of an Osaka-area origin.
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1248:directed a fictionalized film of Sharaku's career,
1062:(1796) appears Sharaku's depiction of kabuki actor
206:responded to with reactionary policies such as the
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2651:(165). International Ukiyo-e Association: 73–79.
758:Ichikawa Danjūrō VI as Soga no Gorō Tokimune
491:Shinozuka Uraeimon as the announcer at Miyako-za
1077:
928:In 1968 Tetsuji Yura proposed that Sharaku was
3125:Sharaku wo oe: Tensai eshi wa naze kieta no ka
3079:Historical investigation into Tōshūsai Sharaku
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1453:
1424:
1408:
1392:
1306:The approximate dimensions of these sizes are:
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126:, especially of the administrative capital of
3250:
360:Segawa Kikujurō III as Oshizu, Wife of Tanabe
8:
2683:Kobayashi, Tadashi; Ōkubo, Jun'ichi (1994).
770:Sawamura Sōjūrō III as Satsuma Gengobei
727:warrior prints; and 1 is of the god of luck
3005:Tōshūsai Sharaku: Full-sized Complete works
2164:
721:at the Miyako-za; 1 is a sumo print; 2 are
413:at Miyako-za in the seventh month; 10 from
58:print designer, known for his portraits of
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2767:. Translated by Charles S. Terry. Tuttle.
2666:Utamaro: Portraits from the Floating World
1236:—a novel whose protagonist is Tsutaya—and
630:elements of the composition. Most of the
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2903:] (in Japanese). Fujiwara Printing.
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2045:Sharaku shinkō: Sharaku wa Kyōden datta!
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1051:Kōshirō Matsumoto IV as Sakanaya Gorobee
384:Ichikawa Ebizo IV as Takemura Sadanoshin
157:After the mid-18th century, full-colour
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746:Ichikawa Ebizō as Kudō Saemon Suketsune
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515:Ichikawa Omezō I as Tomita Hyōtarō
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210:intended to strengthen the feudalistic
108:actors, and others associated with the
2998:Tōshūsai Sharaku: Gensun Daizensakuhin
2824:The Japanese Print: A Historical Guide
2200:
2137:
2122:
2030:
2018:
2006:
1989:
1977:
1962:
1873:
1861:
1771:
1654:
1228:1983 saw the appearance of the novels
1165:Arashi Ryūzō I as Ishibe Kinkichi
1054:. On a decorated kite illustrated in
118:. Alongside paintings, mass-produced
3007:]. Shōgakukan. pp. 231–240.
2871:Sharaku: The Enigmatic Ukiyo-e Master
2263:
2251:
1677:
1585:
1546:
685:Daidōzan Bungorō enters the sumo ring
348:Sawamura Sōjurō III as Ogishi Kurando
138:Ichikawa Monnosuke II as Soga no Gorō
7:
2692:Fundamentals of Ukiyo-e Appreciation
2347:
2311:
2299:
2227:
2188:
1837:
1807:
1795:
1759:
1740:
1723:
1711:
1612:
1597:
1558:
1139:in 1939. Certain portraits such as
527:Nakayama Tomisaburō as Tsukuba Gozen
2852:Sharaku: True portrait as an Edoite
2335:
195:aimed for recognizable likenesses.
96:art flourished in Japan during the
54:; active 1794–1795) was a Japanese
2845:Sharaku: Edojin to shite no jituzō
2532:] (in Japanese). Vol. 5.
2507:] (in Japanese). Vol. 7.
1071:earliest to mention Sharaku. The
932:. The claim is also found in the
649:Arashi Ryūzō II as Ōtomo Yamanushi
114:"floating world" lifestyle of the
81:actor, or even the ukiyo-e master
14:
2873:. Translated by Bonnie F. Abiko.
2793:"The Case of the Sharaku Murders"
1151:Arashi Ryūzō I as Ishibe Kinkichi
619:Hana no Miyako Kuruwa no Nawabari
539:Nakajima Kanzō as Negoto no Chōzō
3222:
3210:
3198:
3186:
2854:] (in Japanese). Chūōkōron.
844:
775:
763:
751:
739:
678:
666:
654:
642:
532:
520:
508:
496:
484:
377:
365:
353:
341:
187:actor prints and the dusting of
19:For the 1995 Japanese film, see
3959:Not associated with any school
3046:; Ledoux, Louis Vernon (1984).
3034:; Ledoux, Louis Vernon (1939).
2733:from the original on 2024-09-21
2694:] (in Japanese). Shibundō.
2685:Ukiyo-e no Kanshō Kiso Chishiki
2631:from the original on 2024-09-21
2324:Schierbeck & Edelstein 1994
1238:The Case of the Sharaku Murders
440:Yomo no Nishiki Kokyō no Tabiji
372:Ōtani Oniji III as Yakko Edobei
63:greatest in the ukiyo-e genre.
3953:List of Utagawa school members
3036:The Surviving Works of Sharaku
2981:(in Japanese). Tōkyō Shoseki.
2615:University of Washington Press
2447:University of California Press
1137:The Surviving Works of Sharaku
1:
4475:18th-century Japanese artists
2974:Yamaguchi, Keizaburō (1994).
2573:Hillier, Jack Ronald (1954).
2549:Hendricks, Jim (2011-02-26).
1143:are particularly well known.
579:Shinobu Koi Suzume no Irodoki
416:Nihon Matsu Michinoku Sodachi
337:First-period kabuki portraits
4409:influenced non-Japanese art
2869:Narazaki, Muneshige (1994).
2764:Kitagawa Utamaro (1753–1806)
2524:Gotō, Shigeki, ed. (1975).
601:; and two are a memorial to
3283:Japanese woodblock printing
3265:Ukiyo-e schools and artists
2924:. Museum Tusculanum Press.
2843:Nakano, Mitsutoshi (2007).
2709:Kobayashi, Tadashi (1997).
2664:Kobayashi, Tadashi (1982).
2496:Gotō, Shigeki, ed. (1973).
1297:, "facial likeness picture"
1292:
1119:, and asserted Sharaku was
940:Various Thoughts on Ukiyo-e
469:Tsuki no Mayu Koi no Monaka
449:Tsuki no Mayu Koi no Monaka
425:Katsuragawa Tsuki no Omoide
303:Hana-shōbu Omoi no Kanzashi
160:
4506:
3172:Image scans at Ukiyo-e.org
3162:Metropolitan Museum of Art
2791:Lee, Andrew (2014-06-21).
2276:Kobayashi & Ōkubo 1994
2240:Kobayashi & Ōkubo 1994
1141:Ōtani Oniji III
1135:and Louis Vernon Ledoux's
706:Nido no Kake Katsuiro Soga
594:Kagurazuki Iwai no Iroginu
567:at the Miyako-za; 21 from
434:Shinrei Yaguchi no Watashi
235:
18:
4480:Japanese portrait artists
3720:Shunkōsai Fukushū school
3441:Ishikawa Toyonobu school
3431:Ippitsusai Bunchō school
3294:
3070:Nakashima, Osamu (2012).
3065:. R. Piper & Company.
2551:"Expressions of a Master"
2047:. Japan: Bungei shunshū.
1468:Kazayamabon Ukiyo-e Ruikō
1454:
1425:
1409:
1393:
1286:
1272:may have been pronounced
1192:in 1989, and €389,000 at
1048:decorated with Sharaku's
616:month, 3 prints are from
585:Matsuhamisa Onna Kusunoki
570:Otokoyama Oedo no Ishizue
292:Katakiuchi Noriyaibanashi
51:
3127:
3123:Uchida, Chizuko (2007).
3074:
3000:
2978:
2896:
2892:Ōkubo, Jun'ichi (2013).
2847:
2761:Kondō, Ichitarō (1956).
2745:Kondō, Ichitarō (1955).
2687:
2644:
2525:
2500:
2417:. Movies & TV Dept.
2364:AFP staff (2009-10-16).
1125:Chats on Japanese Prints
712:Edo Sunago Kichirei Soga
582:at the Kiri-za; 15 from
564:Oshukubai Koi no Hatsune
318:Yoshitsune Senbon Zakura
238:List of works by Sharaku
153:head portraits of actors
4420:Japonaiserie (Van Gogh)
3157:Toshusai Sharaku Online
3044:Henderson, Harold Gould
3032:Henderson, Harold Gould
2607:Hockley, Allen (2003).
2413:Crow, Jonathan (2013).
1008:Contemporaries such as
718:Godairiki Koi no Fūjime
709:at the Kiri-za; 7 from
282:Hana-ayame Bunroku Soga
16:Japanese ukiyo-e artist
3351:Harukawa Eizan school
3106:Kodansha International
3072:Tōshūsai Sharaku kōshō
3061:Kurth, Julius (1910).
2717:Kodansha International
2439:Fabe, Marilyn (2004).
1276:in the artist's time.
1154:
1133:Harold Gould Henderson
1081:
1064:Ichikawa Ebizō IV
1033:
410:Keisei Sanbon Karasaka
154:
40:
4042:artists and movements
3933:Utagawa Hiroshige III
3288:List of ukiyo-e terms
3096:Suzuki, Jūzō (1968).
2901:On Ukiyo-e Publishing
2070:, pp. 74, 85–86.
2043:Tani, Minezō (1981).
1149:
1060:Shotōzan Tenarai Hōjō
1042:of Takashimaya O-Hisa
1030:Shotōzan Tenarai Hōjō
1023:
603:Ichikawa Monnosuke II
136:
29:
4430:Anglo-Japanese style
3928:Utagawa Hiroshige II
3848:Utagawa Kunisada III
3714:Yanagawa Shigenobu I
3525:Keisai Eisen school
3310:of 17–19th centuries
3167:"Sharaku" JPN-MIYABI
2942:Artibus et Historiae
2390:Bell, David (2004).
1129:Arthur Davison Ficke
1000:Reception and legacy
915:Tokushima Prefecture
735:Fourth-period prints
480:Second-period prints
325:. These prints are
66:Sharaku made mostly
4490:Unidentified people
4470:18th-century births
3998:Kobayashi Kiyochika
3863:Utagawa Toyokuni II
3843:Utagawa Kunisada II
3599:Nishimura Shigenaga
3307:Schools and artists
3134:]. East Press.
3128:写楽を追え: 天才絵師はなぜ消えたのか
3001:東洲斎写楽 : 原寸大全作品
2894:Ukiyo-e Shuppan-ron
2314:, pp. 197–198.
2278:, pp. 216–217.
1992:, pp. 187–188.
1242:Katsuhiko Takahashi
981:; the painter-poet
638:Third-period prints
244:portraits of actors
204:military government
4435:Post-Impressionism
4259:Shōzaburō Watanabe
3918:Utagawa Kuniteru I
3903:Utagawa Yoshitoshi
3883:Utagawa Yoshitsuya
3858:Utagawa Kunimasu I
3828:Utagawa Toyokuni I
3801:Toyohara Kunichika
3724:Shunshosai Hokucho
3589:Nishikawa Sukenobu
3519:Kawamata Tsunemasa
3514:Kawamata Tsuneyuki
3504:Katsukawa Shunkō I
3415:Yanagawa Shigenobu
3405:Katsushika Hokusai
3395:Hishikawa Moronobu
3081:]. Sairyūsha.
3054:Dover Publications
2861:978-4-12-101-886-1
2757:(pages unnumbered)
2645:研究ノート 「東洲斎」の読みについて
2530:Ukiyo-e Compendium
2505:Ukiyo-e Compendium
2420:The New York Times
2121:, pp. 83–85;
1864:, pp. ii, iv.
1852:, pp. 67, 76.
1155:
1036:The subject of an
1034:
800:Muneshige Narazaki
790:Style and analysis
248:common print sizes
155:
116:pleasure districts
41:
39:colour print, 1794
4457:
4456:
4332:Japanese painting
4234:Sekino Jun'ichirō
4214:Gihachiro Okuyama
4174:Sakuichi Fukazawa
4154:Un'ichi Hiratsuka
4068:Kiyokata Kaburagi
3923:Utagawa Hiroshige
3913:Utagawa Yoshifusa
3908:Utagawa Yoshifuji
3888:Utagawa Yoshitora
3873:Utagawa Kuniyoshi
3771:Torii Kiyomitsu I
3766:Torii Kiyomasu II
3756:Torii Kiyonobu II
3734:Shunbaisai Hokuei
3710:Shigenobu school
3704:Urakusai Nagahide
3679:Yanagawa Nobusada
3669:Shunbaisai Hokuei
3644:Shunkōsai Hokushū
3604:Ishikawa Toyonobu
3595:Nishimura school
3585:Nishikawa school
3499:Katsukawa Shunchō
3494:Katsukawa Shunsen
3489:Katsukawa Shun'ei
3484:Katsukawa Shunshō
3472:Matsuno Chikanobu
3452:Kaigetsudō school
3445:Ishikawa Toyonobu
3435:Ippitsusai Bunchō
3420:Yanagawa Nobusada
3391:Hishikawa school
3345:Furuyama Moromasa
3141:978-4-87257-755-6
3115:978-0-87011-056-6
3088:978-4-7791-1806-7
3014:978-4-7791-1806-7
2988:978-4-487-79075-3
2931:978-87-7289-268-9
2910:978-4-642-07915-0
2884:978-4-7700-1910-3
2835:978-0-8348-0167-7
2818:Münsterberg, Hugo
2753:Tuttle Publishing
2726:978-4-7700-2182-3
2701:978-4-7843-0150-8
2624:978-0-295-98301-1
2456:978-0-520-93729-1
2405:978-1-901903-41-6
2392:Ukiyo-e Explained
2097:, pp. 83–85.
1953:, pp. 85–86.
1917:, pp. 77–78.
1726:, pp. 81–82.
1525:, pp. 80–83.
1513:, pp. 67–68.
1430:Harutō Matazaemon
1222:Sergei Eisenstein
1220:Soviet filmmaker
1216:
812:Katsukawa Shun'ei
4497:
4391:Mochizuki school
4309:Tadashi Nakayama
4169:Yasuhide Kobashi
4108:Takahashi Shōtei
3993:Kobayashi Eitaku
3943:Utagawa Sadafusa
3938:Utagawa Hirokage
3898:Utagawa Yoshiiku
3878:Ryusai Shigeharu
3868:Utagawa Kuniyasu
3853:Utagawa Sadahide
3838:Utagawa Kunisada
3833:Utagawa Kunimasa
3823:Utagawa Toyohiro
3818:Utagawa Toyoharu
3797:Toyohara school
3761:Torii Kiyomasu I
3751:Torii Kiyonobu I
3695:Ryūkōsai school
3619:Okumura Masanobu
3579:Miyagawa Shunsui
3569:Miyagawa Chōshun
3565:Miyagawa school
3539:Kitagawa Utamaro
3535:Kitagawa school
3510:Kawamata school
3479:Katsukawa school
3462:Kaigetsudō Anchi
3381:Hasegawa school
3361:Harunobu school
3341:Furuyama school
3300:
3259:
3252:
3245:
3236:
3227:
3226:
3215:
3214:
3203:
3202:
3201:
3191:
3190:
3189:
3182:
3145:
3119:
3103:
3092:
3066:
3057:
3039:
3018:
2992:
2976:Sharaku no Zenbō
2970:
2935:
2914:
2888:
2875:Kodansha America
2865:
2839:
2827:
2813:
2811:
2810:
2801:. Archived from
2787:
2785:
2784:
2775:. Archived from
2756:
2748:Toshusai Sharaku
2741:
2739:
2738:
2705:
2679:
2660:
2649:Ukiyo-e Geijutsu
2639:
2637:
2636:
2603:
2601:
2600:
2591:. Archived from
2569:
2567:
2566:
2557:. Archived from
2545:
2520:
2492:
2471:
2469:
2468:
2459:. Archived from
2435:
2433:
2432:
2423:. Archived from
2415:"Sharaku (1995)"
2409:
2386:
2384:
2383:
2374:. Archived from
2351:
2345:
2339:
2333:
2327:
2321:
2315:
2309:
2303:
2297:
2291:
2285:
2279:
2273:
2267:
2261:
2255:
2249:
2243:
2237:
2231:
2225:
2219:
2213:
2204:
2198:
2192:
2186:
2180:
2174:
2168:
2165:Münsterberg 1982
2162:
2153:
2147:
2141:
2135:
2126:
2116:
2110:
2104:
2098:
2092:
2083:
2077:
2071:
2065:
2059:
2058:
2040:
2034:
2028:
2022:
2016:
2010:
2004:
1993:
1987:
1981:
1975:
1966:
1960:
1954:
1948:
1942:
1941:, p. 78–79.
1936:
1930:
1924:
1918:
1912:
1906:
1900:
1894:
1888:
1877:
1871:
1865:
1859:
1853:
1847:
1841:
1835:
1826:
1820:
1811:
1805:
1799:
1793:
1787:
1781:
1775:
1769:
1763:
1757:
1744:
1738:
1727:
1721:
1715:
1709:
1700:
1694:
1681:
1675:
1658:
1648:
1633:
1627:
1616:
1610:
1601:
1595:
1589:
1583:
1577:
1571:
1562:
1556:
1550:
1544:
1538:
1532:
1526:
1520:
1514:
1508:
1502:
1496:
1481:
1477:
1471:
1464:
1458:
1457:
1456:
1451:
1445:
1438:
1432:
1428:
1427:
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1381:
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1357:
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1348:
1345:
1339:
1336:
1330:
1304:
1298:
1295:
1289:
1288:
1283:
1277:
1267:
1246:Masahiro Shinoda
1212:
1202:
1191:
1190:
1177:
1176:
1103:
1068:double entendres
1015:Ernest Fenollosa
995:
975:Utagawa Toyokuni
972:
848:
808:
779:
767:
755:
743:
682:
670:
658:
646:
614:intercalary 11th
611:
536:
524:
512:
500:
488:
381:
369:
357:
345:
181:Katsukawa school
171:Katsukawa school
163:
124:the social scale
120:woodblock prints
53:
44:Tōshūsai Sharaku
4505:
4504:
4500:
4499:
4498:
4496:
4495:
4494:
4485:Ukiyo-e artists
4460:
4459:
4458:
4453:
4357:Hasegawa school
4320:
4294:Chosei Kawakami
4279:Fujimori Shizuo
4244:Hiroyuki Tajima
4199:Yoshitoshi Mori
4194:Matsubara Naoko
4149:Eiichi Kotozuka
4128:Yoshida Hiroshi
4118:Tsuchiya Koitsu
4103:Shiro Kasamatsu
4078:Elizabeth Keith
4058:Hashiguchi Goyō
4041:
4035:
4009:
3978:Toriyama Sekien
3893:Kawanabe Kyōsai
3806:Yōshū Chikanobu
3776:Torii Kiyotsune
3729:Gatōken Shunshi
3615:Okumura school
3609:Suzuki Harunobu
3559:Kitao Shigemasa
3467:Hasegawa Eishun
3457:Kaigetsudō Ando
3401:Hokusai school
3385:Hasegawa Settan
3365:Suzuki Harunobu
3330:Chōbunsai Eishi
3320:Gigadō Ashiyuki
3316:Asayama school
3309:
3301:
3292:
3266:
3263:
3233:
3221:
3209:
3199:
3197:
3187:
3185:
3177:
3153:
3148:
3142:
3129:
3122:
3116:
3095:
3089:
3076:
3069:
3060:
3042:
3030:
3026:
3024:Further reading
3021:
3015:
3002:
2995:
2989:
2980:
2973:
2959:10.2307/1483579
2938:
2932:
2917:
2911:
2898:
2891:
2885:
2868:
2862:
2849:
2842:
2836:
2828:. Weatherhill.
2816:
2808:
2806:
2798:The Japan Times
2790:
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2502:
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2412:
2406:
2396:Global Oriental
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1435:
1423:
1419:
1414:Harutō Jizaemon
1407:
1403:
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1230:Phantom Sharaku
1196:
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327:ōkubi yakusha-e
269:
240:
234:
212:shogunal system
193:ōkubi yakusha-e
185:ōkubi yakusha-e
173:introduced the
144:, a pioneer in
91:
24:
17:
12:
11:
5:
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4339:
4328:
4326:
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4321:
4319:
4318:
4317:
4316:
4311:
4306:
4304:Kohno Michisei
4298:
4297:
4296:
4291:
4286:
4281:
4276:
4271:
4266:
4264:Hodaka Yoshida
4261:
4256:
4254:Kanae Yamamoto
4251:
4249:Sadao Watanabe
4246:
4241:
4236:
4231:
4226:
4224:Kiichi Okamoto
4221:
4216:
4211:
4206:
4204:Shikō Munakata
4201:
4196:
4191:
4186:
4184:Senpan Maekawa
4181:
4176:
4171:
4166:
4161:
4156:
4151:
4146:
4144:Azechi Umetarō
4132:
4131:
4130:
4125:
4123:Yamakawa Shūhō
4120:
4115:
4110:
4105:
4100:
4095:
4090:
4088:Natori Shunsen
4085:
4083:Kojima Gyokuhō
4080:
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4033:
4028:
4023:
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4008:
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4003:Kikukawa Eizan
4000:
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3990:
3988:Sugimura Jihei
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3870:
3865:
3860:
3855:
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3845:
3840:
3835:
3830:
3825:
3820:
3813:Utagawa school
3810:
3809:
3808:
3803:
3795:
3794:
3793:
3788:
3786:Torii Kiyonaga
3783:
3781:Torii Kiyohiro
3778:
3773:
3768:
3763:
3758:
3753:
3748:
3746:Torii Kiyomoto
3738:
3737:
3736:
3731:
3726:
3718:
3717:
3716:
3708:
3707:
3706:
3701:
3699:Ryūkōsai Jokei
3693:
3692:
3691:
3686:
3681:
3676:
3671:
3666:
3661:
3656:
3654:Yoshida Hanbei
3651:
3646:
3641:
3639:Ryūkōsai Jokei
3633:
3632:
3631:
3623:
3622:
3621:
3613:
3612:
3611:
3606:
3601:
3593:
3592:
3591:
3583:
3582:
3581:
3576:
3574:Miyagawa Isshō
3571:
3563:
3562:
3561:
3553:
3552:
3551:
3549:Eishōsai Chōki
3546:
3541:
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3412:
3407:
3399:
3398:
3397:
3389:
3388:
3387:
3379:
3378:
3377:
3372:
3370:Isoda Koryūsai
3367:
3359:
3358:
3357:
3355:Harukawa Eizan
3349:
3348:
3347:
3339:
3338:
3337:
3335:Chōkōsai Eishō
3332:
3324:
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3322:
3313:
3311:
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3239:
3232:
3231:
3219:
3207:
3195:
3175:
3174:
3169:
3164:
3159:
3152:
3151:External links
3149:
3147:
3146:
3140:
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3114:
3093:
3087:
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2700:
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2674:
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2623:
2604:
2570:
2546:
2521:
2498:Ukiyo-e Taikei
2493:
2477:Ars Orientalis
2472:
2455:
2436:
2410:
2404:
2387:
2360:
2358:
2355:
2353:
2352:
2340:
2328:
2326:, p. 290.
2316:
2304:
2302:, p. 198.
2292:
2288:AFP staff 2009
2280:
2268:
2256:
2244:
2242:, p. 216.
2232:
2220:
2218:, p. 135.
2216:Yamaguchi 1994
2205:
2203:, p. 174.
2193:
2181:
2177:Hendricks 2011
2169:
2167:, p. 101.
2154:
2142:
2140:, p. 184.
2127:
2125:, p. 184.
2111:
2099:
2084:
2072:
2060:
2053:
2035:
2033:, p. iii.
2023:
2021:, p. 166.
2011:
2009:, p. 179.
1994:
1982:
1980:, p. 164.
1967:
1965:, p. 189.
1955:
1943:
1931:
1919:
1907:
1895:
1878:
1866:
1854:
1842:
1827:
1812:
1810:, p. 104.
1800:
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1788:
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1764:
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1716:
1701:
1682:
1659:
1657:, p. 159.
1653:, p. 89;
1634:
1617:
1602:
1590:
1578:
1576:, p. 231.
1574:Yamaguchi 2002
1563:
1551:
1539:
1535:Kobayashi 1997
1527:
1523:Kobayashi 1997
1515:
1511:Kobayashi 1982
1503:
1490:
1488:
1485:
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1482:
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1459:
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1308:
1299:
1278:
1261:
1259:
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1234:Akiko Sugimoto
1090:Shikitei Sanba
1056:Jippensha Ikku
1038:Eishōsai Chōki
1026:Jippensha Ikku
1001:
998:
964:Torii Kiyomasa
952:Kansei Reforms
863:
862:
852:Ichikawa Ebizō
850:
843:
842:
841:
840:
839:
833:
830:
819:Utagawa school
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236:Main article:
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208:Kansei Reforms
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2:
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4425:Impressionism
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4392:
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4370:
4368:
4367:Nanpin school
4365:
4363:
4360:
4358:
4355:
4353:
4350:
4348:
4345:
4343:
4340:
4338:
4335:
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4323:
4315:
4314:Fujio Yoshida
4312:
4310:
4307:
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4302:
4301:
4299:
4295:
4292:
4290:
4289:Tadashige Ono
4287:
4285:
4282:
4280:
4277:
4275:
4274:Suwa Kanenori
4272:
4270:
4269:Tōshi Yoshida
4267:
4265:
4262:
4260:
4257:
4255:
4252:
4250:
4247:
4245:
4242:
4240:
4237:
4235:
4232:
4230:
4229:Saitō Kiyoshi
4227:
4225:
4222:
4220:
4219:Kōshirō Onchi
4217:
4215:
4212:
4210:
4207:
4205:
4202:
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4192:
4190:
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4164:Kitaoka Fumio
4162:
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4150:
4147:
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4142:
4141:
4140:
4139:
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4126:
4124:
4121:
4119:
4116:
4114:
4113:Torii Kotondo
4111:
4109:
4106:
4104:
4101:
4099:
4098:Ota Masamitsu
4096:
4094:
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3991:
3989:
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3964:
3963:Kanbun Master
3961:
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3791:Torii Kotondo
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3650:
3647:
3645:
3642:
3640:
3637:
3636:
3635:Osaka school
3634:
3630:
3629:Ōoka Shunboku
3627:
3626:
3624:
3620:
3617:
3616:
3614:
3610:
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3557:
3556:
3555:Kitao school
3554:
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3430:
3426:
3425:Totoya Hokkei
3423:
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3418:
3416:
3413:
3411:
3410:Katsushika Ōi
3408:
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3326:Eishi school
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3308:
3304:
3299:
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2857:
2853:
2848:写楽: 江戸人としての実像
2846:
2841:
2837:
2831:
2826:
2825:
2819:
2815:
2805:on 2014-06-27
2804:
2800:
2799:
2794:
2789:
2779:on 2014-07-18
2778:
2774:
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2765:
2759:
2754:
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2749:
2743:
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2728:
2722:
2718:
2714:
2713:
2707:
2703:
2697:
2693:
2686:
2681:
2677:
2675:4-7700-2730-3
2671:
2667:
2662:
2658:
2654:
2650:
2641:
2630:
2626:
2620:
2616:
2612:
2611:
2605:
2595:on 2020-06-27
2594:
2590:
2586:
2582:
2581:Phaidon Press
2578:
2577:
2571:
2561:on 2015-01-21
2560:
2556:
2555:Albany Herald
2552:
2547:
2543:
2539:
2535:
2531:
2522:
2518:
2514:
2510:
2506:
2499:
2494:
2490:
2486:
2482:
2478:
2473:
2463:on 2008-04-02
2462:
2458:
2452:
2448:
2444:
2443:
2437:
2427:on 2013-11-13
2426:
2422:
2421:
2416:
2411:
2407:
2401:
2397:
2393:
2388:
2378:on 2014-03-03
2377:
2373:
2372:
2367:
2362:
2361:
2356:
2349:
2344:
2341:
2337:
2332:
2329:
2325:
2320:
2317:
2313:
2308:
2305:
2301:
2296:
2293:
2289:
2284:
2281:
2277:
2272:
2269:
2266:, p. 32.
2265:
2260:
2257:
2254:, p. 31.
2253:
2248:
2245:
2241:
2236:
2233:
2230:, p. 78.
2229:
2224:
2221:
2217:
2212:
2210:
2206:
2202:
2197:
2194:
2191:, p. 11.
2190:
2185:
2182:
2178:
2173:
2170:
2166:
2161:
2159:
2155:
2151:
2146:
2143:
2139:
2134:
2132:
2128:
2124:
2120:
2119:Narazaki 1994
2115:
2112:
2109:, p. 85.
2108:
2107:Narazaki 1994
2103:
2100:
2096:
2095:Narazaki 1994
2091:
2089:
2085:
2082:, p. 86.
2081:
2080:Narazaki 1994
2076:
2073:
2069:
2068:Narazaki 1994
2064:
2061:
2056:
2050:
2046:
2039:
2036:
2032:
2027:
2024:
2020:
2015:
2012:
2008:
2003:
2001:
1999:
1995:
1991:
1986:
1983:
1979:
1974:
1972:
1968:
1964:
1959:
1956:
1952:
1951:Narazaki 1994
1947:
1944:
1940:
1939:Narazaki 1994
1935:
1932:
1929:, p. 78.
1928:
1927:Narazaki 1994
1923:
1920:
1916:
1915:Narazaki 1994
1911:
1908:
1905:, p. 77.
1904:
1903:Narazaki 1994
1899:
1896:
1893:, p. 76.
1892:
1891:Narazaki 1994
1887:
1885:
1883:
1879:
1876:, p. ii.
1875:
1870:
1867:
1863:
1858:
1855:
1851:
1850:Narazaki 1994
1846:
1843:
1840:, p. 87.
1839:
1834:
1832:
1828:
1825:, p. 23.
1824:
1819:
1817:
1813:
1809:
1804:
1801:
1797:
1792:
1789:
1786:, p. 75.
1785:
1784:Narazaki 1994
1780:
1777:
1773:
1768:
1765:
1762:, p. 83.
1761:
1756:
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1750:
1746:
1743:, p. 82.
1742:
1737:
1735:
1733:
1729:
1725:
1720:
1717:
1714:, p. 81.
1713:
1708:
1706:
1702:
1699:, p. 74.
1698:
1697:Narazaki 1994
1693:
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1683:
1679:
1674:
1672:
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1652:
1651:Narazaki 1994
1647:
1645:
1643:
1641:
1639:
1635:
1632:, p. 89.
1631:
1630:Narazaki 1994
1626:
1624:
1622:
1618:
1615:, p. 80.
1614:
1609:
1607:
1603:
1600:, p. 79.
1599:
1594:
1591:
1588:, p. 73.
1587:
1582:
1579:
1575:
1570:
1568:
1564:
1561:, p. 81.
1560:
1555:
1552:
1549:, p. 14.
1548:
1543:
1540:
1537:, p. 91.
1536:
1531:
1528:
1524:
1519:
1516:
1512:
1507:
1504:
1501:, p. 27.
1500:
1499:Fitzhugh 1979
1495:
1492:
1486:
1476:
1473:
1469:
1463:
1460:
1450:
1447:
1443:
1437:
1434:
1431:
1421:
1418:
1415:
1405:
1402:
1399:
1398:Saitō Jūrōbei
1389:
1386:
1380:
1377:
1371:
1368:
1362:
1359:
1353:
1350:
1344:
1341:
1335:
1332:
1325:
1322:
1319:
1316:
1313:
1310:
1309:
1303:
1300:
1296:
1294:
1282:
1279:
1275:
1271:
1266:
1263:
1257:
1255:
1253:
1252:
1247:
1243:
1239:
1235:
1231:
1226:
1223:
1218:
1215:
1210:
1204:
1200:
1195:
1185:
1181:
1170:
1166:
1161:
1152:
1148:
1144:
1142:
1138:
1134:
1130:
1126:
1122:
1118:
1114:
1110:
1105:
1101:
1096:
1091:
1086:
1085:Ukiyo-e Ruikō
1080:
1076:
1074:
1073:Ukiyo-e Ruikō
1069:
1065:
1061:
1057:
1053:
1052:
1047:
1043:
1039:
1031:
1027:
1022:
1018:
1016:
1011:
1006:
999:
997:
993:
988:
985:; the writer
984:
980:
979:Maruyama Ōkyo
976:
970:
965:
961:
956:
953:
949:
945:
941:
937:
936:
935:Ukiyo-e Ruikō
931:
926:
924:
920:
916:
912:
908:
903:
899:
897:
893:
889:
885:
881:
877:
867:
857:
853:
847:
838:
831:
829:
827:
822:
820:
815:
813:
806:
801:
796:
789:
784:
778:
773:
766:
761:
754:
749:
742:
737:
734:
732:
730:
726:
725:
720:
719:
714:
713:
708:
707:
702:
698:
691:Fourth period
690:
681:
676:
669:
664:
657:
652:
645:
640:
637:
635:
633:
628:
623:
621:
620:
615:
609:
604:
600:
596:
595:
591:
587:
586:
581:
580:
576:
572:
571:
566:
565:
560:
556:
552:
544:
535:
530:
523:
518:
511:
506:
499:
494:
487:
482:
479:
477:
474:
470:
466:
462:
458:
453:
451:
450:
446:
442:
441:
436:
435:
431:
427:
426:
422:
418:
417:
412:
411:
407:
406:
401:
397:
390:Second period
389:
380:
375:
368:
363:
356:
351:
344:
339:
336:
334:
332:
328:
324:
323:Kawarazaki-za
320:
319:
315:
314:
309:
305:
304:
300:
299:
294:
293:
288:
284:
283:
278:
274:
266:
264:
262:
258:
257:
252:
249:
245:
239:
231:
229:
227:
222:
217:
213:
209:
205:
201:
196:
194:
190:
186:
182:
178:
177:
172:
168:
164:
162:
152:
151:
148:
143:
139:
135:
131:
129:
125:
121:
117:
113:
112:
107:
103:
99:
95:
88:
86:
84:
80:
75:
71:
70:
64:
61:
57:
49:
45:
38:
37:
32:
28:
22:
4446:Ligne claire
4444:
4412:
4406:
4395:
4386:Shijō school
4378:
4371:
4362:Kyoto school
4337:Rinpa school
4239:Toko Shinoda
4209:Tetsuya Noda
4137:Sosaku-hanga
4135:
4134:
4073:Hasui Kawase
4049:
4048:
4040:20th century
3967:
3948:Adachi Ginkō
3741:Torii school
3625:Ōoka school
3529:Keisai Eisen
3131:
3124:
3099:
3078:
3071:
3062:
3050:
3047:
3035:
3004:
2997:
2975:
2946:
2940:
2920:
2900:
2893:
2870:
2851:
2844:
2823:
2807:. Retrieved
2803:the original
2796:
2781:. Retrieved
2777:the original
2763:
2747:
2735:. Retrieved
2711:
2691:
2684:
2665:
2648:
2633:. Retrieved
2609:
2597:. Retrieved
2593:the original
2575:
2563:. Retrieved
2559:the original
2554:
2529:
2504:
2497:
2480:
2476:
2465:. Retrieved
2461:the original
2441:
2429:. Retrieved
2425:the original
2418:
2391:
2380:. Retrieved
2376:the original
2369:
2343:
2331:
2319:
2307:
2295:
2283:
2271:
2259:
2247:
2235:
2223:
2196:
2184:
2172:
2152:, p. 3.
2150:Hockley 2003
2145:
2114:
2102:
2075:
2063:
2044:
2038:
2026:
2014:
1985:
1958:
1946:
1934:
1922:
1910:
1898:
1869:
1857:
1845:
1823:Hillier 1954
1803:
1791:
1779:
1767:
1719:
1593:
1581:
1554:
1542:
1530:
1518:
1506:
1494:
1475:
1467:
1462:
1449:
1436:
1429:
1420:
1413:
1404:
1397:
1388:
1379:
1370:
1361:
1352:
1343:
1334:
1323:
1317:
1311:
1302:
1290:
1281:
1273:
1269:
1265:
1249:
1237:
1229:
1227:
1219:
1205:
1178:in 1975, at
1164:
1159:
1156:
1150:
1140:
1136:
1124:
1108:
1106:
1084:
1082:
1078:
1072:
1059:
1050:
1035:
1029:
1007:
1003:
957:
939:
933:
927:
913:, in modern
911:Awa Province
904:
900:
873:
851:
835:
826:Paul Cézanne
823:
816:
797:
793:
722:
716:
710:
704:
700:
696:
694:
631:
626:
625:Most of the
624:
617:
612:. From the
592:
589:
583:
577:
574:
568:
562:
558:
554:
550:
548:
545:Third period
472:
468:
464:
460:
456:
454:
447:
444:
438:
432:
430:jidai-kyōgen
429:
423:
420:
414:
408:
405:jidai-kyōgen
403:
399:
395:
393:
326:
316:
311:
301:
296:
290:
280:
272:
270:
267:First period
260:
254:
250:
241:
226:Torii school
220:
197:
192:
184:
183:popularized
174:
158:
156:
145:
137:
109:
92:
67:
65:
43:
42:
34:
30:
4440:Art Nouveau
4352:Hara school
4347:Akita ranga
4342:Kanō school
4284:Reika Iwami
4179:Masao Maeda
4159:Itow Takumi
4093:Ohara Koson
4063:Itō Shinsui
3983:Ogata Gekkō
3973:Sawa Sekkyō
3664:Hirosada II
3375:Shiba Kōkan
3229:Visual arts
2953:: 157–190.
2357:Works cited
2201:Tanaka 1999
2138:Tanaka 1999
2123:Tanaka 1999
2031:Nakano 2007
2019:Tanaka 1999
2007:Tanaka 1999
1990:Tanaka 1999
1978:Tanaka 1999
1963:Tanaka 1999
1874:Nakano 2007
1862:Nakano 2007
1772:Tanaka 1999
1655:Tanaka 1999
1244:. In 1995
1209:Kazuo Inoue
1197: [
1098: [
1095:Katō Eibian
990: [
983:Tani Bunchō
967: [
858:, 1791
803: [
606: [
313:kiri-kyōgen
4464:Categories
4051:Shin-hanga
4031:Yokohama-e
4026:Nagasaki-e
4021:Kamigata-e
3659:Hirosada I
2809:2015-01-21
2783:2017-09-11
2737:2016-12-07
2688:浮世絵の鑑賞基礎知識
2635:2016-10-26
2599:2017-09-11
2565:2015-01-21
2467:2017-09-11
2431:2015-01-21
2382:2013-12-07
2264:Ōkubo 2013
2252:Ōkubo 2013
2054:4163370706
1678:Kondō 1955
1586:Iwata 2013
1547:Kondō 1956
1487:References
1180:Christie's
987:Tani Sogai
874:A book on
443:, and the
331:black mica
310:; and the
140:(1789) by
102:courtesans
98:Edo period
89:Background
4414:Japonisme
4189:Maki Haku
4014:By region
3689:Yoshitaki
3544:Tsukimaro
3193:Biography
3075:「東洲斎写楽」考証
2657:0041-5979
2542:703810551
2517:703799716
2348:Crow 2013
2312:Fabe 2004
2300:Fabe 2004
2228:Gotō 1973
2189:Bell 2004
1838:Gotō 1973
1808:Bell 2004
1796:Bell 2004
1760:Gotō 1973
1741:Gotō 1973
1724:Gotō 1973
1712:Gotō 1973
1613:Gotō 1973
1598:Gotō 1973
1559:Gotō 1975
1169:Sotheby's
1117:Velázquez
1113:Rembrandt
1040:portrait
919:Meiji-era
461:yakusha-e
455:Of the 8
287:Miyako-za
221:Yakusha-e
161:nishiki-e
150:yakusha-e
69:yakusha-e
36:nishiki-e
3674:Kunimasu
3649:Ashiyuki
3038:. Weyhe.
2820:(1982).
2731:Archived
2629:Archived
2534:Shueisha
2509:Shūeisha
2336:Lee 2014
1470:of 1822
1270:Tōshūsai
1171:for US$
1167:sold at
1127:of 1915
1058:'s book
1046:hand fan
1044:holds a
948:art name
896:Nichōsai
892:Ryūkōsai
832:Identity
599:triptych
588:and the
573:and the
557:, and 4
419:and the
329:against
295:and the
48:Japanese
4407:Ukiyo-e
4380:Nihonga
4325:Related
4300:Others
3968:Sharaku
3684:Shunshi
3278:Ukiyo-e
3271:General
3217:Theatre
3179:Portals
3100:Sharaku
3063:Sharaku
2979:写楽の全貌 /
2967:1483579
2589:1439680
2489:4629295
1426:春藤 又左衛門
1410:春藤 次左衛門
1394:斎藤 十郎兵衛
1318:hosoban
1293:nigao-e
1274:Tōjūsai
1251:Sharaku
1109:Sharaku
1010:Utamaro
960:Utamaro
944:Hokusai
930:Hokusai
923:Asakusa
866:Hokusai
856:Hokusai
724:musha-e
697:hosoban
627:hosoban
551:hosoban
473:hosoban
471:. The
400:hosoban
398:and 30
321:at the
308:Kiri-za
306:at the
285:at the
256:hosoban
176:ōkubi-e
169:of the
167:Shunshō
94:Ukiyo-e
83:Hokusai
74:Utamaro
56:ukiyo-e
3138:
3112:
3085:
3011:
2985:
2965:
2949:(39).
2928:
2907:
2897:浮世絵出版論
2881:
2858:
2832:
2773:613198
2771:
2723:
2698:
2672:
2655:
2621:
2587:
2540:
2515:
2487:
2453:
2402:
2051:
1032:(1796)
884:Shinto
699:and 5
590:jōruri
575:jōruri
445:jōruri
421:jōruri
298:jōruri
277:Kansei
259:, and
216:Kabuki
200:Kansei
142:Shunkō
106:kabuki
60:kabuki
52:東洲斎 写楽
4373:Nanga
3205:Japan
3130:[
3077:[
3003:[
2963:JSTOR
2899:[
2850:[
2690:[
2528:[
2526:浮世絵大系
2503:[
2501:浮世絵大系
2485:JSTOR
1312:aiban
1258:Notes
1201:]
1194:Piasa
1102:]
994:]
977:, or
971:]
888:Osaka
876:haiku
807:]
783:Ebisu
729:Ebisu
701:aiban
632:aiban
610:]
555:aiban
553:, 13
251:aiban
232:Works
147:ōkubi
111:ukiyo
4397:Yōga
3136:ISBN
3110:ISBN
3083:ISBN
3009:ISBN
2983:ISBN
2951:IRSA
2926:ISBN
2905:ISBN
2879:ISBN
2856:ISBN
2830:ISBN
2769:OCLC
2721:ISBN
2696:ISBN
2670:ISBN
2653:ISSN
2619:ISBN
2585:OCLC
2538:OCLC
2513:OCLC
2451:ISBN
2400:ISBN
2049:ISBN
1466:The
1442:mica
1324:ōban
1184:GBP£
1182:for
1160:ōban
1115:and
1083:The
894:and
880:Nara
715:and
559:ōban
465:ōban
457:ōban
396:ōban
273:ōban
261:ōban
189:mica
2955:doi
2371:AFP
1287:似顔絵
1240:by
1232:by
1189:000
1175:000
1121:Noh
1028:'s
907:Noh
695:10
549:47
271:28
128:Edo
79:Noh
4466::
3108:.
3104:.
3052:.
2961:.
2947:20
2945:.
2877:.
2795:.
2751:.
2729:.
2719:.
2715:.
2627:.
2617:.
2613:.
2583:.
2579:.
2553:.
2536:.
2511:.
2481:11
2479:.
2449:.
2445:.
2398:.
2394:.
2368:.
2208:^
2157:^
2130:^
2087:^
1997:^
1970:^
1881:^
1830:^
1815:^
1748:^
1731:^
1704:^
1685:^
1662:^
1637:^
1620:^
1605:^
1566:^
1254:.
1214:ja
1199:fr
1187:22
1173:25
1100:ja
992:ja
973:,
969:ja
962:,
938:("
854:,
805:ja
731:.
608:ja
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253:,
228:.
104:,
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50::
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3181::
3144:.
3118:.
3091:.
3056:.
3017:.
2991:.
2969:.
2957::
2934:.
2913:.
2887:.
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2812:.
2786:.
2755:.
2740:.
2704:.
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2638:.
2602:.
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2491:.
2470:.
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2385:.
2350:.
2338:.
2290:.
2179:.
2057:.
1680:.
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868:.
46:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
