Ukiyo-e Glossary

A medium-sized print format measuring approximately 33 x 23 cm. The term translates to 'intermediate size' and was commonly used for actor prints and bijin-ga during the Edo period.

Prints produced entirely in shades of blue, using imported Prussian blue (bero-ai) pigment. This technique became popular in the 1830s, most famously employed by Hokusai in his 'Thirty-six Views of Mount Fuji' series. The monochromatic blue palette created a distinctive, atmospheric quality.

Registration marks carved into woodblocks to ensure precise alignment of multiple color blocks during printing. Proper atari was essential for achieving the sharp, clean lines characteristic of fine ukiyo-e prints.

A circular pressing pad made from bamboo sheath and cord, used to transfer ink from the woodblock to paper. The printer applies pressure in a circular motion, and the quality of the baren significantly affects the print's clarity and ink saturation. Master printers often made their own baren.

Early hand-colored prints from the 1720s-1740s, distinguished by their use of beni (safflower red) as the primary color. Artists applied the pigment by hand after printing the key block in black ink, creating prints with a warm, distinctive palette.

Limited-color prints emphasizing red (beni), often combined with one or two additional colors (e.g., blue/yellow), in use in the 1740s-1760s (pre-nishiki-e). This technique represented a crucial stepping stone between hand-colored prints and full-color nishiki-e.

Literally 'pictures of beautiful women,' this genre depicted courtesans, geisha, and fashionable women of the pleasure quarters. Masters like Utamaro, Harunobu, and Eishi elevated bijin-ga to high art, capturing not just beauty but personality and atmosphere.

A sophisticated gradation technique where color transitions smoothly from dark to light within a single impression. The printer achieves this effect by wiping away ink from portions of the block before printing. Hiroshige's atmospheric skies and water reflections showcase masterful bokashi.

The most prominent pupil of Hosoda Eishi, Chokosai Eisho (active c. 1792-1801) specialized in okubi-e (bust portraits) of beautiful women and courtesans, competing directly with Kitagawa Utamaro. His celebrated series 'Kakuchu Bijin Kurabe' depicted real Yoshiwara courtesans against shimmering mica backgrounds.

A medium print format measuring approximately 27 x 19.5 cm(varies), roughly half the size of oban. Chuban was commonly used for surimono and certain series of actor prints.

A composition spanning two sheets (ni-mai-tsuzuki), designed to be displayed together. Diptychs allowed artists to create larger, more ambitious compositions while remaining within standard printing formats.

The former name of Tokyo during the period 1603-1868, when it served as the seat of the Tokugawa shogunate. The Edo period was the golden age of ukiyo-e, and the city was the primary center of woodblock print production and commerce.

Pictorial calendars that cleverly concealed the long and short months of the Japanese lunar calendar within decorative images. These privately commissioned prints were exchanged as New Year's gifts and played a crucial role in the development of full-color printing.

Prints depicting Mount Fuji, Japan's sacred mountain and most enduring artistic symbol. Hokusai's 'Thirty-six Views of Mount Fuji' and Hiroshige's various Fuji series established the mountain as a central subject in ukiyo-e landscape art.

A specialized gradation technique where pigment is sprayed or blown onto the print to create subtle atmospheric effects, particularly for depicting mist, clouds, or twilight.

A style of kimono with long, flowing sleeves worn by unmarried women, frequently depicted in bijin-ga prints. The elaborate patterns of furisode provided artists opportunities to display their skill in rendering textile designs.

See Karazuri. The French term for blind embossing, creating raised or impressed patterns without ink. This technique added tactile dimension and subtle visual interest to prints.

Professional entertainers trained in traditional arts including music, dance, and conversation. Distinct from courtesans, geisha were frequent subjects in ukiyo-e, depicted in teahouses and at seasonal festivals.

A white pigment made from crusite oyster shells, ground to fine powder. Applied thickly, gofun created an opaque white; thinned, it produced translucent effects. It was essential for depicting snow, white garments, and skin tones in deluxe editions.

The woodblock used in printing, or by extension, the print itself. The term appears in compound words like hanmoto (publisher) and hanga (print).

The Japanese word for woodblock print. The term encompasses both traditional ukiyo-e and later movements like shin-hanga (new prints) and sosaku-hanga (creative prints).

The publisher who financed, coordinated, and marketed woodblock prints. Major publishers like Tsutaya Juzaburo and Nishimuraya Yohachi commissioned designs, managed carvers and printers, and navigated censorship regulations. Their seals appear on prints as marks of origin.

The final preparatory drawing made by the artist, which was pasted face-down onto the woodblock and carved through, destroying the original in the process. This explains why few original ukiyo-e drawings survive.

Extremely tall, narrow prints (approximately 13 x 77 cm) designed to decorate the pillars (hashira) of traditional Japanese homes. The unusual format challenged artists to create dynamic vertical compositions.

Utagawa Hiroshige (1797-1858), master of landscape prints and one of the last great ukiyo-e artists. His 'Fifty-three Stations of the Tokaido' and 'One Hundred Famous Views of Edo' influenced Western Impressionists and remain among the most recognized Japanese artworks worldwide.

Katsushika Hokusai (1760-1849), the legendary artist whose 'Great Wave off Kanagawa' became one of the world's most iconic images. Working until age 89, he produced landscapes, manga (sketches), shunga, and illustrated books, constantly reinventing his style.

A narrow print format measuring approximately 33 × 15 cm, popular during the early period of color printing. Hosoban was frequently used for actor prints and images of courtesans.

A wood-grain pattern effect created by printing from blocks cut to reveal the natural grain. This technique added texture and visual interest to backgrounds and surfaces.

An artist name (go) used by Hiroshige early in his career, before he adopted the name by which he became famous. Many ukiyo-e artists used multiple names throughout their careers.

A leading ukiyo-e artist (1711–1785) known for his elegant 'lacquer prints' (urushi-e) and benizuri-e depicting kabuki actors and beautiful women. A pupil of Nishimura Shigenaga, his courtesans display the composed, impassive faces characteristic of the Kaigetsudo school.

Period plays featuring historical plots with court nobles and samurai warriors from earlier eras. Jidaimono prints depict dramatic scenes of legendary battles, heroic samurai, and courtly intrigue, contrasting with sewamono (contemporary domestic dramas).

A clever type of print designed to be viewed from either orientation—right-side-up or upside-down—with each perspective revealing a different image or meaning. These playful, dual-image compositions demonstrate the wit and ingenuity prized in Edo-period popular culture.

The official family crest associated with a specific kabuki actor, typically used throughout an entire acting lineage. Jomon appear prominently on actors' costumes in yakusha-e (actor prints), serving as important identifiers for viewers.

Chanted narrative drama featuring shamisen accompaniment used in both bunraku (puppet theater) and kabuki performances. Ukiyo-e prints often depicted scenes from famous joruri plays and their celebrated performers.

The elaborate, multi-layered formal court dress worn by noble women during the Heian period. Though predating ukiyo-e, the junihitoe appears in prints depicting classical literary scenes, historical dramas, and mitate-e referencing courtly elegance.

The popular theater form featuring elaborate costumes, dramatic makeup (kumadori), and stylized acting. Kabuki actors were celebrities of the Edo period, and prints of their performances (yakusha-e) were bestsellers, functioning as the equivalent of modern celebrity posters.

Large-format prints designed to hang as scroll-like decorations, measuring approximately 76 × 23 cm. These prestigious prints often featured standing beauties or actors in full costume.

Blind printing or embossing, where the dampened paper is pressed into carved blocks without ink to create raised or impressed textures. This technique beautifully rendered textures like snow, white fabric, feathers, and waves, visible only when the print is viewed at an angle.

The registration system using an L-shaped mark and a straight line cut into the corner of woodblocks, ensuring precise alignment of multiple color impressions. Accurate kento was essential for the sharp registration that distinguished fine prints.

The first block carved and printed, establishing the outlines of the design in black ink. Color blocks were then carved to fit precisely within these outlines. The keyblock (sumiban) required the most skilled carving.

The application of mica powder (kira) mixed with glue to create shimmering, metallic backgrounds. This luxurious technique was frequently used in bijin-ga and actor prints during the 1790s, creating a subtle sparkle that photographs struggle to capture.

A small print format measuring approximately 19.5 x 13.5 cm. Koban prints were more affordable and portable, making them accessible to a wider audience.

Frontispiece prints produced for novels and literary magazines, particularly during the Meiji period. These exquisitely printed bijin-ga served as illustrations but were often removed and collected separately.

The bold, stylized makeup worn by kabuki actors, with specific color patterns indicating character types: red lines for heroes, blue for villains, brown for supernatural beings. Kumadori was meticulously reproduced in actor prints.

Prints depicting famous places (meisho), a genre that flourished with Hokusai's and Hiroshige's landscape series. These prints documented scenic locations, famous temples and shrines, and views associated with poetry and literature.

Parody pictures that playfully reinterpreted classical themes, often depicting courtesans or actors in roles from history, literature, or mythology. This sophisticated genre required viewers to recognize the original reference.

The Japanese term for woodblock printing, encompassing the entire process from design through carving and printing. The word literally means 'wood-block picture.'

Warrior prints depicting samurai, legendary heroes, and scenes from military chronicles. Kuniyoshi was the undisputed master of this genre, creating dynamic compositions filled with supernatural elements and bold action.

An elongated print format measuring approximately 52 x 25.6 cm, used for vertical compositions of standing figures or tall landscapes.

Full-color woodblock prints, literally 'brocade pictures,' developed in 1765 by Harunobu. The technique used multiple blocks (sometimes over 20) to create rich, layered colors rivaling textile brocades. This innovation revolutionized ukiyo-e and remained the standard until the late 19th century.

A technique that impressed fabric texture onto the print by pressing cloth against the dampened paper before printing. This created realistic textile effects for depicting garments.

The most common standard print format, measuring approximately 39 x 27 cm(varies). Oban became the default size for landscape series, bijin-ga, and actor prints from the late 18th century onward.

The highest-ranking courtesans of the Yoshiwara pleasure quarter, renowned for their beauty, elegance, and accomplishments in arts and conversation. Oiran were distinguished by their elaborate hairstyles, multiple hairpins, and extravagant kimono.

Large head portraits, typically bust-length, that focused on the face and expression of the subject. Sharaku's explosive actor portraits and Utamaro's psychological bijin studies exemplify this powerful format.

See Hashira-e. Tall, narrow prints designed to hang on the wooden pillars of traditional Japanese homes, requiring artists to work within extreme vertical constraints.

A masterless samurai, often depicted in musha-e. The famous tale of the forty-seven ronin, who avenged their lord's death, was a popular subject for ukiyo-e artists.

An aesthetic concept embracing the beauty of imperfection, transience, and the patina of age. While more associated with ceramics and gardens, sabi influenced the appreciation of subtle, atmospheric effects in prints.

A triptych—three sheets designed as a continuous composition. Triptychs allowed artists to create panoramic landscapes, multi-figure scenes, and dramatic battle compositions on a grand scale.

Red stamps appearing on prints that identify the artist, publisher, carver, and (in later periods) censor. Reading seals is essential for authentication, dating, and understanding a print's production history.

Toshusai Sharaku (active 1794-1795), the mysterious artist who produced approximately 140 striking actor portraits in just ten months before vanishing from history. His bold, psychologically penetrating portraits were rediscovered by Western collectors in the 20th century.

The 'new print' movement of the early 20th century, reviving traditional woodblock techniques with contemporary sensibilities. Publisher Watanabe Shozaburo commissioned artists like Hasui, Hiroshi Yoshida, and Goyo to create prints that blended Western realism with Japanese aesthetics.

Memorial prints produced to commemorate the death of a famous person, particularly kabuki actors. These prints typically featured a portrait alongside poems of tribute and information about funeral arrangements.

The preliminary sketch made by the artist before the final drawing. Multiple shita-e might be produced as the design evolved through discussion with the publisher.

Erotic prints, literally 'spring pictures,' produced by virtually all major ukiyo-e artists. Despite official prohibition, shunga were widely circulated and often featured the highest quality printing and materials. They provide valuable insights into Edo-period attitudes toward sexuality.

The 'creative print' movement where individual artists designed, carved, and printed their own works, rejecting the collaborative workshop system. This 20th-century movement aligned with Western concepts of artistic originality.

Prints depicting sumo wrestlers, who were celebrity athletes of the Edo period. These prints documented famous matches, champion wrestlers, and ceremonial aspects of sumo.

Early prints using only black ink (sumi), produced before the development of color printing techniques. The best sumizuri-e demonstrate remarkable sophistication in line quality and tonal variation.

Privately commissioned prints of exceptional quality, produced for special occasions like New Year's celebrations or poetry gatherings. Surimono often incorporated metallic pigments, elaborate embossing, and sophisticated literary references, serving as exclusive gifts among cultural elites.

One of the most influential ukiyo-e masters (c. 1725-1770), Suzuki Harunobu revolutionized Japanese printmaking by pioneering the full-color woodblock print (nishiki-e) in 1765. His work is celebrated for delicate, idealized depictions of slender, youthful beauties and poetic classical themes.

An innovative artist (1747-1818) who later adopted the name Shiba Kokan. After Harunobu's death in 1770, Harushige created prints closely imitating the master's style. He later pioneered Western-style oil painting and copperplate etching in Japan, creating Japan's first copperplate print in 1783.

An Edo-period ukiyo-e artist active from about 1725 through 1748. Tamura Sadanobu produced hosoban-format lacquer prints (urushi-e) and benizuri-e of beautiful women in the refined style of Kyoto master Nishikawa Sukenobu.

Early hand-colored prints using red lead (tan) pigment, produced during the 1710s-1720s. These prints represent an early stage in the development toward full-color printing.

Vertical-format prints, the most common orientation for ukiyo-e. The oban sheet was typically used vertically, ideal for standing figures and vertical compositions.

The great coastal highway connecting Edo (Tokyo) to Kyoto, passing through 53 post stations. Hiroshige's famous series depicting this road became a bestseller and inspired numerous imitations and continuations.

The fourth head of the prestigious Torii school (1752-1815), considered one of the great masters of the golden age of ukiyo-e. He defined the bijin-ga aesthetic of the 1780s with his tall, elegant, statuesque women—a departure from Harunobu's delicate figures—and was a major influence on Utamaro.

See Sanmaitsuzuki. A composition spanning three sheets, allowing for expansive panoramic scenes popular in landscape, warrior, and kabuki subjects.

A leading shin-hanga artist (1870-1949), known for poetic nocturnal scenes and atmospheric landscapes. A student of Kobayashi Kiyochika, Koitsu's work captures the transitional period between Edo and modern Japan.

A heavily padded outer kimono worn by brides and high-ranking courtesans, often featuring elaborate embroidered or woven designs. In prints, the uchikake's rich patterns allowed artists to display their skill in textile rendering.

The 'floating world' of Edo-period urban entertainment—the theaters, teahouses, and pleasure quarters where life was devoted to pleasure and aesthetic pursuits. Originally a Buddhist term for the transient, sorrowful world, it was transformed into a celebration of earthly pleasures.

Pictures of the floating world: the vibrant art form depicting the entertainment culture of Edo-period Japan. Encompassing prints, paintings, and illustrated books, ukiyo-e captured actors, courtesans, landscapes, warriors, and the pleasures of urban life from the 17th through 19th centuries.

Prints incorporating lacquer (urushi) or glue mixed with black ink to create glossy, raised surfaces that simulated lacquerware. This technique added dimension and luxury to hand-colored prints of the 1720s-1740s.

The most prolific ukiyo-e school, dominating print production from the late 18th century. Founded by Toyoharu and developed by his student Toyokuni I, the school included masters like Hiroshige, Kuniyoshi, Kunisada, and their many students.

Also known as Toyokuni I (1769-1825), Utagawa Toyokuni elevated the Utagawa school to dominance in the nineteenth century. Renowned for his dynamic kabuki actor prints (yakusha-e), particularly 'Yakusha Butai no Sugata-e' (1794–1796), he trained many pupils including Kunisada and Kuniyoshi.

Kitagawa Utamaro (1753-1806), the supreme master of bijin-ga who elevated portraits of courtesans to psychological studies. His innovative okubi-e (large head portraits) captured subtle expressions and individual personalities, influencing Western artists including Degas and Cassatt.

A soft, gentle style of kabuki acting that emphasizes romantic charm, grace, and sensitivity—the opposite of the bombastic aragoto style. Wagoto roles typically feature young lovers or refined characters, particularly in prints from the Kamigata (Osaka-Kyoto) region.

Classical Japanese poetry composed in 31 syllables (5-7-5-7-7 pattern). Waka verses frequently appear inscribed on ukiyo-e prints, particularly on surimono (privately commissioned prints) and bijin-ga, adding literary depth and cultural refinement to the artwork.

Traditional Japanese paper made from the inner bark of the kozo (mulberry) tree, mitsumata, or gampi plants. Washi's long, intertwined fibers create exceptional strength and absorbency, essential qualities for woodblock printing. The finest ukiyo-e used high-quality hosho paper.

The Watanabe publishing house, led by Shozaburo Watanabe (1885-1962), was the principal publisher of the shin-hanga movement. Watanabe revived traditional ukiyo-e collaborative techniques while incorporating Western influences, publishing works by artists like Hasui Kawase and Ito Shinsui.

A famous kabuki dance depicting a young woman with a branch of wisteria, frequently depicted in actor prints. The role showcased an onnagata (female-role actor) at his most graceful.

Actor prints depicting kabuki performers in their famous roles. The most popular genre of ukiyo-e, yakusha-e functioned as celebrity portraits, theatre advertisements, and collectible merchandise.

Classical Japanese painting traditions that developed from the Heian period, emphasizing native subjects and aesthetics as distinct from Chinese-influenced styles. Ukiyo-e inherited compositional elements from yamato-e, including seasonal imagery and narrative techniques.

Horizontal-format prints, with the oban sheet turned sideways. This orientation was particularly effective for landscape compositions and was used extensively by Hokusai and Hiroshige.

Tsukioka Yoshitoshi (1839-1892), the last great master of ukiyo-e, whose dramatic, often violent imagery bridged traditional woodblock printing and modern illustration. His 'One Hundred Aspects of the Moon' and 'New Forms of Thirty-Six Ghosts' remain celebrated masterpieces.

The licensed pleasure quarter of Edo, established in 1617 and relocated in 1657. This walled district of teahouses, brothels, and entertainments was a primary subject of ukiyo-e, inspiring countless depictions of its famous courtesans, festivals, and atmosphere.

Traditional flat sandals worn with kimono, often depicted in detail in bijin-ga prints. The style of zori could indicate the wearer's status and occasion.