Impressions of Ukiyo-ye the school of the Japanese colour-print artists

"Impressions of Ukiyo-ye" by Dora Amsden is a comprehensive exploration of the Japanese colour-print artists known as Ukiyo-ye. The book delves into the rise of Ukiyo-ye, also known as the Floating World, as a spiritual rendering of daily life, nature, and imagination in Japan. The author discusses the historical background of Japanese art, tracing its origins from Chinese and Buddhist influences to the development of the Tosa and Kano schools. The book highlights key figures such as Iwasa Matahei, Hishigawa Moronobu, and Suzuki Harunobu, who played pivotal roles in shaping the Popular School of Ukiyo-ye. The Golden Era of Romance and Art during the Genroku period from 1688 to 1703 is explored, focusing on the flourishing of art under the Tokugawa Shoguns. The book delves into the famous tale of the Forty-seven Ronin, a story of feudal devotion and vengeance that became a popular subject for Ukiyo-ye artists. The evolution of the Torii School, the printers' branch of Ukiyo-ye, is examined, with a particular emphasis on the development of chromo-xylography and the mastery of multiple colour-block printing techniques. The book discusses the contributions of artists like Shunsho, Koriusai, and Toyokuni to the Torii School, as well as the fusion of painting and printing techniques within the Ukiyo-ye tradition. The vibratory quality of early Ukiyo-ye prints and the intricate process of wood-cutting are highlighted, showcasing the skill and artistry required to produce these prints. The book also touches on the decline of the Ukiyo-ye tradition due to the influx of cheap pigments from the Western world, leading to a deterioration in the quality of art. Overall, "Impressions of Ukiyo-ye" provides a detailed examination of the history, techniques, and key artists of the Japanese colour-print tradition, offering insights into the cultural and artistic landscape of Japan during the Edo period. The middle of the book discusses the revolution in painting brought about by the Popular School, aided by Okio, in Kyoto. The Torii artists abandoned their academic methods and began painting from nature. Okio is praised as one of the great masters of Japanese art, known for breathing life into his pictures. The book delves into legends surrounding Okio and his ability to bring animals and birds to life in his paintings. The story of a moonlight picture that filled a dark room with light is also shared, along with a legend of Tanyu, the great Kano artist, and the crabs at Enryaku Temple. The book continues to discuss Kiyonaga, the legitimate successor to the Torii school, who discarded the theatrical tradition of his school and had a bold drawing style. His panels are described as having simplicity and dignity reminiscent of early Italian masters. The book also touches on the influence of the lotus flower in Japanese art and mythology, symbolizing life, immortality, and ideal beauty. The lotus blooms are compared to visions of fair women, reflecting the art significance of the flower. The narrative then shifts to Utamaro, the founder of the Popular School of Japanese Art, known for his exquisite woodblock prints and illustrations. His life and art are explored, highlighting his popularity and downfall due to his uncontrolled pursuit of beauty. Utamaro's work is described as capturing the essence of Japanese life and culture, particularly focusing on women and their daily activities. The book also discusses the influence of Utamaro on the art world and his impact on the Paris Salon. The section concludes with a discussion of Hokusai, another prominent figure in Japanese art known for his landscape paintings and woodblock prints. Hokusai's life and artistic journey are detailed, emphasizing his mastery of xylography and his innovative techniques. His influence on the art world, particularly in the realm of landscape painting and impressionism, is highlighted