Woodblock Prints in the Ukiyo-e Style

  • Kyoyu and Sofu
    JP1589
  • Yukihira and the Salt Maidens
    1975.268.126
  • Crow and Heron, or Young Lovers Walking Together under an Umbrella in a Snowstorm
    JP2453
  • Midnight: The Hours of the Rat; Mother and Sleepy Child
    JP1278
  • Otani Oniji II
    JP2822
  • Three Kabuki Actors [from right to left]: Iwai Hanshiro V (1776-1847), Segawa Kikunojo (1802-1832), and Onoe Kikugoro III (1784-1849)
    2001.715.4
  • The Great Wave at Kanagawa (from a Series of Thirty-Six Views of Mount Fuji)
    JP1847
  • Evening Snow at Kanbara
    JP2492
  • Station of Otsu: From the Fifty-three Stations of the Tokaido (The Reisho Tokaido)
    JP804
  • Kinryusan Temple at Asakusa: From the series One Hundred Famous Views of Edo
    JP2519
  • Foreigners in the Drawing Room of a Foreign Merchants House in Yokohama
    2007.49.131a-c
  • A Group of Children Playing under the Plum Blossoms in the Snow
    JP3341

Essay

Woodblock prints were initially used as early as the eighth century in Japan to disseminate texts, especially Buddhist scriptures. The designer and painter Tawaraya Sotatsu (died ca. 1640) used wood stamps in the early seventeenth century to print designs on paper and silk. Until the eighteenth century, however, woodblock printing remained primarily a convenient method of reproducing written texts.

In 1765, new technology made it possible to produce single-sheet prints in a whole range of colors. Printmakers who had heretofore worked in monochrome and painted the colors in by hand, or had printed only a few colors, gradually came to use full polychrome painting to spectacular effect. The first polychrome prints, or nishiki-e, were calendars made on commission for a group of wealthy patrons in Edo, where it was the custom to exchange beautifully designed calendars at the beginning of the year.

Woodblock prints of the Edo period most frequently depicted the seductive courtesans and exciting kabuki actors (JP2822) of the urban pleasure districts. With time, their subject matter expanded to include famous romantic vistas and eventually, in the final years of the nineteenth century, dramatic historical events. These pictures could be made in great quantity and featured popular scenes that appealed in particular to the wealthy townspeople of the period.

Despite the fame of great print masters like Suzuki Harunobu (1725–1770) and Utagawa Hiroshige (1797–1858), each print required the collaboration of four experts: the designer, the engraver, the printer, and the publisher. A print was usually conceived and issued as a commercial venture by the publisher, who was often also a bookseller. It was he who chose the theme and determined the quality of the work. Designers were dependent on the skill and cooperation of their engravers and of the printers charged with executing their ideas in finished form.

A woodblock print image is first designed by the artist on paper and then transferred to a thin, partly transparent paper. Following the lines on the paper, now pasted to a wooden block usually of cherry wood, the carver chisels and cuts to create the original in negative—with the lines and areas to be colored raised in relief. Ink is applied to the surface of the woodblock. Rubbing a round pad over the back of a piece of paper laid over the top of the inked board makes a print.

Polychrome prints were made using a separate carved block for each color, which could number up to twenty. To print with precision using numerous blocks on a single paper sheet, a system of placing two cuts on the edge of each block to serve as alignment guides was employed. Paper made from the inner bark of mulberry trees was favored, as it was strong enough to withstand numerous rubbings on the various woodblocks and sufficiently absorbent to take up the ink and pigments. Reproductions, sometimes numbering in the thousands, could be made until the carvings on the woodblocks became worn.

Department of Asian Art, The Metropolitan Museum of Art

October 2003

Citation

Department of Asian Art. “Woodblock Prints in the Ukiyo-e Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm (October 2003)

Further Reading

Guth, Christine. Japanese Art of the Edo Period. London: Weidenfeld & Nicolson, 1995.

Illing, Richard. The Art of Japanese Prints. London: Octopus, 1980.

Kanada, Margaret Miller. Color Woodblock Printmaking: The Traditional Method of Ukiyo-e. Tokyo: Shufunotomo, 1989.

Mason, Penelope. History of Japanese Art. Upper Saddle River, N.J.: Pearson Prentice Hall, 2004.

Merritt, Helen. Modern Japanese Woodblock Prints: The Early Years. Honolulu: University of Hawaii Press, 1990.

Singer, Robert T., ed. Edo: Art in Japan, 1615–1868. Washington: D.C.: National Gallery of Art, 1998.

Thompson, Sarah E., and H. D. Harootunian. Undercurrents in the Floating World: Censorship and Japanese Prints. New York: Asia Society Galleries, 1991.

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