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kamigata-e@γ•ϋŠG
KEY WORD :@art history / paintings
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*Ukiyo-e •‚’ŠG prints from the Osaka-Kyoto area (kamigata γ•ϋ denotes this geographical area). Also called oosaka-e ‘εγŠG as opposed to *edo-e ]ŒΛŠG , which refers to prints made in Edo (now Tokyo). The earliest kamigata-e were black and white illustrations for books of popular fiction. Most of the artists remain anonymous. The earliest known artist of note is Yoshida Hanbee ‹g“c”Ό•Ί‰q (fl.1660-92), whose style resembles his Edo contemporary, Hishikawa Moronobu •HμŽtι (ca.1618-94). Kyoto master, Nishikawa Sukenobu's Όμ—SM (1671-1751) influence on the course of ukiyo-e printmaking was substantial. He may have been the teacher of Suzuki Harunobu —ι–؏tM (1724-70). Kamigata printmakers are also known for popularizing the *kappazuri ‡‰H , or stencil technique of color printing. In 1746 Oooka Shunboku ‘ε‰ͺt–m (1680-1763) designed the first known book using this technique. By the late 17c, Edo was rapidly becoming the center of ukiyo-e printmaking. Book publishing continued to be an important industry in kamigata, but Edo took the lead in the publication of single sheet prints *ichimai-e ˆκ–‡ŠG. Fewer publishers and the resulting lack of competition in kamigata-e resulted in fewer commissions for artists to produce print designs, and less experimentation with subject matter. Except for privately commissioned *surimono  •¨, kamigata-e single-sheet prints almost exclusively depict *kabuki ‰Μ•‘Šκ actors. However, some of the print designs are quite bold, innovative, and may pre-date similar Edo conceptions. Indeed some prominent Edo print artists may have received training in Osaka or Kyoto, and a few, such as Katsushika Hokusai Š‹ό–kΦ (1760-1849) visited, often to utilize Osaka's superior printing facilities. Thus, kamigata and Edo artists appear to have mutually influenced each other. The first full-color single-sheet prints (also known as kamigata nishiki-e γ•ϋ‹ΡŠG or naniwa nishiki-e ˜Q‰Τ‹ΡŠG) in Osaka were designed by Ryuukousai Jokei —¬ŒυβV”@Œ\ (fl. 1772-1816), and published in 1792-3. Other influential masters are Ryuukousai's pupil, Shoukousai Hanbee ΌDβV”Ό•Ί‰q (fl. 1795-1809) and the latter's follower Shunkousai Hokushuu tDΦ–kF (fl.ca.1808-32). Hokushuu is responsible for popularizing large, multisheet sets of full-length actor portraits, which became a hallmark of the Osaka school.
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