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Partners in Print: Artistic Collaboration and the Ukiyo-e Market PDF

266 Pages·2014·7.62 MB·English
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PARTNERS in PRINT Artistic Collaboration and the Ukiyo-e Market Julie Nelson Davis Partners in Print Partners in Print artistic Collaboration and the Ukiyo-e Market Julie Nelson Davis University of Hawai‘i Press Honolulu © 2015 University of Hawai‘i Press All rights reserved Printed in the United States of America 20 19 18 17 16 15 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Davis, Julie Nelson, author. Partners in print : artistic collaboration and the ukiyo-e market / Julie Nelson Davis. pages cm Includes bibliographical references and index. ISBN 978-0-8248-3938-3 (cloth : alk. paper) 1. Ukiyoe—Case studies. 2. Color prints, Japanese—Edo period, 1600–1868—Case studies. 3. Artistic collaboration— Japan—History—18th century—Case studies. I. Title. N7353.6.U35D38 2015 769.952’09033—dc23 2014026817 University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Mardee Melton Printed by Sheridan Books, Inc. For Ray and Camille Contents List of Illustrations ix Acknowledgments xv Introduction: The Floating World and Its Artistic Networks 1 Chapter 1 Teaching the Art of Painting through Print: A Master Painter, His Students, and the Illustrated Book 20 Chapter 2 Picturing Beauties: Print Designers, Publishers, and a Mirror of the Yoshiwara 61 Chapter 3 Unrolling Pictures for the Erotic Imagination: A Designer, His Publisher, and The Scroll of the Sleeve 108 Chapter 4 Making Dogma into Comedy: A Writer and an Illustrator Send Up Religion in a Popular Book 143 Conclusion: Reconsidering Collaboration and Ukiyo Art Worlds 185 Notes 195 Works Cited 223 Index 235 IllustratIons 1.1. Toriyama Sekien, Kitagawa Utamaro, and Toriyama Sekichūjo. Untitled, ca. 1786. 1.2. Kano Chikanobu. Scroll of Comic Pictures (Giga zukan), late seventeenth to early eighteenth centuries. 1.3. Hishikawa Moronobu. Illustration of lion and peony on Chinese-style screen, from Collected Designs for Standing Screens and Hanging Scrolls (Byōbu kakemono ezukushi), 1701. 1.4. Toriyama Sekien. Illustration of Hotei, from Echoes of Bird Mountain (Toriyama biko), 1773. 1.5. Toriyama Sekien, Illustration of a winter landscape, from Echoes of Bird Mountain (Toriyama biko), 1773. 1.6. Toriyama Sekien. Illustration of a scene from the Tale of Genji, from Echoes of Bird Mountain (Toriyama biko), 1773. 1.7. Toriyama Sekien. Illustration of a locust and eggplant, from Echoes of Bird Mountain (Toriyama biko), 1773. 1.8. Toriyama Sekien, Illustration of a peacock, peahen, and peonies, from Echoes of Bird Mountain (Toriyama biko), 1773. 1.9. Toriyama Sekien. Illustration of a peacock, peahen, and peonies, continued, from Echoes of Bird Mountain (Toriyama biko), 1773. 1.10. Toriyama Sekien, Illustration of Emperor Shun, from Painting Comparisons (Kaiji hiken), 1778. 1.11. Toriyama Sekien. Illustration of Emperor Nintoku, from Painting Comparisons (Kaiji hiken), 1778. 1.12. Toriyama Sekien. Illustration of the Queen Mother of the West, from Painting Comparisons (Kaiji hiken), 1778. 1.13. Toriyama Sekien. Illustration of the Tamatsushima princess, from Painting Comparisons (Kaiji hiken), 1778. ix

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This compelling account of collaboration in the genre of ukiyo-e (pictures of the floating world) offers a new approach to understanding the production and reception of print culture in early modern Japan. It provides a corrective to the perception that the ukiyo-e tradition was the product of the c
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