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Journal articles on the topic 'Ukiyo-e'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Brown, Innes, and Ognjen Arandjelović. "Making Japenese Ukiyo-e Art 3D in Real-Time." Sci 2, no. 1 (2020): 6. http://dx.doi.org/10.3390/sci2010006.

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Ukiyo-e is a traditional Japanese painting style most commonly printed using wood blocks. Ukiyo-e prints feature distinct line work, bright colours, and a non-perspective projection. Most previous research on ukiyo-e styled computer graphics has been focused on creation of 2D images. In this paper we propose a framework for rendering interactive 3D scenes with ukiyo-e style. The rendering techniques use standard 3D models as input and require minimal additional information to automatically render scenes in a ukiyo-e style. The described techniques are evaluated based on their ability to emulat

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2

Brown, Innes, and Ognjen Arandjelović. "Making Japenese Ukiyo-e Art 3D in Real-Time." Sci 2, no. 2 (2020): 32. http://dx.doi.org/10.3390/sci2020032.

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Ukiyo-e is a traditional Japanese painting style most commonly printed using wood blocks. Ukiyo-e prints feature distinct line work, bright colours, and a non-perspective projection. Most previous research on ukiyo-e styled computer graphics has been focused on creation of 2D images. In this paper we propose a framework for rendering interactive 3D scenes with ukiyo-e style. The rendering techniques use standard 3D models as input and require minimal additional information to automatically render scenes in a ukiyo-e style. The described techniques are evaluated based on their ability to emulat

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3

Patria, Asidigisianti Surya. "UKIYO-E SENI POPULAR ( POP ARTIS) ZAMAN EDO." Jurnal Dimensi Seni Rupa dan Desain 9, no. 2 (2012): 163–76. http://dx.doi.org/10.25105/dim.v9i2.940.

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AbstractThe root of Ukiyo-e can be traced back when urbanization became trend in Japan in 16 century leading the developing of merchans and actors started to write stories and novels, then combinedwith picture painting, called ehon. Ehon is picture book with full illustration and story. Ukiyo-e also used as Kabuki show poster. The source of inspiration was real life and urban culture in that time. In the beginning Ukiyo-e was only art expression but then became industry which related with literature. In the end Ukiyo-e shifted into literature visualization. Abtrrak Akar seni Ukiyo-e dapat dila

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4

Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.

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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the

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5

Shi, Yanqiu, and Hao Zhou. "The Influence of Ukiyo-e on Modern Illustration." Highlights in Art and Design 3, no. 1 (2023): 12–14. http://dx.doi.org/10.54097/hiaad.v3i1.9159.

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Ukiyo-e is an art form that was developed during the Edo period in Japan, depicting mainly the culture of the Japanese marketplace, as well as places of entertainment and landscape scenery. Ukiyo-e had a great impact on European painting and influenced the creation of a large number of people, including the Impressionists, and gave European art a new look. Ukiyo-e's lines, composition, colors, and choice of materials not only profoundly influenced Western art, but also the creation of modern illustration, and traces of Ukiyo-e can be seen everywhere in modern illustration works.

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6

James, W. Ellis. "The Floating World of Ukiyo-e Prints: Images of a Japanese Counterculture." Journal of Social and Political Sciences 2, no. 3 (2019): 701–18. https://doi.org/10.31014/aior.1991.02.03.113.

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Ukiyo-e, or “pictures of the floating world,” were woodblock prints that, among other subjects, depicted the “women of pleasure” and Kabuki actors of Japan’s Edo Period pleasure quarters. The pleasure quarters, or yukaku, were popular gathering places for the chonin, or urban working class. This essay contextualizes ukiyo-e images of courtesans, geishas, and Kabuki actors, and discusses how such countercultural artworks often came into conflict with the ruling Tokugawa shogunate’s dominate social order. The essay also includes a brief discussion of historica

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7

Abdullah, Farid. "MENCUKIL SEJARAH DAN ESTETIKA UKIYO-E." Jurnal Dimensi Seni Rupa dan Desain 9, no. 1 (2012): 25–34. http://dx.doi.org/10.25105/dim.v9i1.954.

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AbstractHistory and aesthetic of Ukiyo-e was a portrait of East culture, an effect of increased trade and communication between Asian and European countries during the late 19 century, caused a cultural collision; both East and West exprerienced change as a result of reciprocal influences. asian art provided European and North american artists and designers with new approaches to space, color, drawing conventions, and subject matter that were radically not similar witrh Western tradition . Ukiyo-e defines an art movement of Japan's Takogawa period ( 1603-1867) . Revitalized graphic design duri

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8

Zając, Bartosz. "Elegia dla ruchów kontestacyjnych w obrazach Przepływającego Świata („ukiyo-e”)." Kwartalnik Filmowy, no. 65 (March 31, 2009): 197–208. https://doi.org/10.36744/kf.3181.

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Tekst mówi o esteycznych powiązaniach japońskiego kina nowej fali z ikonografią przednowoczesnej Japonii, „obrazami przepływającego świata” (ukiyo-e), pornograficznymi drzeworytami (shunga) i teatrem kabuki. Związki między ukiyo-e i kinem nowej fali autor przedstawił na przykładzie jednego z najbardziej znaczących filmów dekady Buraikan (1970, reż. Masahiro Shinoda, scen. Shuji Terayama). Jego autorzy, opierając się na powinowactwach estetycznych i narracyjnych, odzyskali kulturową ciągłość, która wydawała się bezpowrotnie przerwana w wyniku drugiej wojny światowej i nacjonalistycznej polityki

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9

Kozbelt, Aaron, and Yana Durmysheva. "Lifespan Creativity in a Non-Western Artistic Tradition: A Study of Japanese Ukiyo-E Printmakers." International Journal of Aging and Human Development 65, no. 1 (2007): 23–51. http://dx.doi.org/10.2190/166n-6470-1325-t341.

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Western cultures' conceptions about creativity emphasize originality and final products; Eastern cultures, skill and process. Does this cultural difference impact how creativity unfolds over the lifespan? To examine this, we investigated Japanese “ukiyo-e” printmaking (c. 1670–1865). Almost 2,000 illustrations of datable prints by 44 artists were found in 36 art books. Career landmarks (earliest, most frequent, and latest illustrated print) and eminence ratings were estimated for each artist. Results are largely consistent with prior research on Western samples: artists' career peaks vary grea

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10

Lillehoj, Elizabeth, and Timothy Clark. "Ukiyo-e Paintings in the British Museum." Asian Folklore Studies 54, no. 1 (1995): 143. http://dx.doi.org/10.2307/1178231.

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11

Jenkins, Donald, and Timothy Clark. "Ukiyo-e Paintings in the British Museum." Monumenta Nipponica 48, no. 2 (1993): 289. http://dx.doi.org/10.2307/2385543.

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12

de Sabato Swinton, Elizabeth, and Timothy Clark. "Ukiyo-e Paintings in the British Museum." Journal of Japanese Studies 20, no. 2 (1994): 522. http://dx.doi.org/10.2307/133210.

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13

Maire, Gonzalo. "Ukiyo-e, imagen, paradigma y representación: anotaciones desde una colección chilena." ALPHA: Revista de Artes, Letras y Filosofía 1, no. 48 (2019): 167–78. http://dx.doi.org/10.32735/s0718-2201201900048624.

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Este artículo propone una reflexión acerca de una colección de ukiyo-e del Archivo Central Andrés Bello de la Universidad de Chile. La anchura del problema es extendida en dos constelaciones exploratorias: por una parte, indagar lo controvertible, aparentemente, de interrogar el objeto japonés desde las lógicas disciplinares occidentales (paradigmas), es decir, por medio de la dicotomía Occidente-Oriente. De otra parte, caracterizar cómo esta tensión inicial fue desatendida o invertida, como un paradigma de lo social en el ukiyo-e y, con ello, el principio de asociatividad de las imágenes en e

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14

Kim, Jung-hui. "Chanoyu and Women’s Cultivation in Edo Woodblock Prints." Association for International Tea Culture 62 (December 31, 2023): 1–27. http://dx.doi.org/10.21483/qwoaud.62..202312.1.

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This study examines images of women’s tea practice (chanoyu) found in Edo-period woodblock prints such as ukiyo-e and educational books, with a focus on its social and cultural meaning. As a social gathering men’s tea practice is often represented with an emphasis on the scene in which guests come together, drink tea, and socialize. Scenes of women’s tea practice in ukiyo-e prints, on the other hand, mostly depict the image of a woman who is making tea (temae) by herself and highlight her tea utensils. This paper maintains that such variation originates from different social expectation toward

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15

Tůmová, Adéla. "Kuniyoshi’s Triptychs in the Collection of the Náprstek Museum." Annals of the Náprstek Museum 45, no. 2 (2024): 67–104. https://doi.org/10.37520/anpm.2024.008.

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The Náprstek Museum of Asian, African and American Cultures keeps an extensive collection of Japanese woodblock prints ukiyo-e. The collection includes also the prints by Utagawa Kuniyoshi (1798–1861), one of the late Edo masters of ukiyo-e, especially famous for his warrior prints musha-e. The article focuses on only a part of Kuniyoshi’s work – his triptychs. During his life Kuniyoshi designed more than 300 triptychs, the Náprstek Museum keeps 21 of them. The aim of this article is to provide an overview of prints in the collection, a description of their provenance, and an analysis of the m

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16

Chen, Yijia. "Examining Utagawa Kuniyoshis Yose-e: The Playfulness and the Grotesque in the Floating World." Communications in Humanities Research 3, no. 1 (2023): 443–50. http://dx.doi.org/10.54254/2753-7064/3/20220406.

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Utagawa Kuniyoshi is a highly regarded Japanese woodblock print-making master; most of his works are welcomed by the mass, for they address most aspects of civilians' everyday life in Late Edo Japan. However, some of his works seem set on uncommon themes with distorted expressions that make them less pleasing than simple popular art. This work aims at deciphering Kuniyoshis unconventional yose-e woodblock printings by contextualizing his works under the tradition of creating playful and grotesque ukiyo-e during the late Tokugawa period. By using theories of Edo aesthetics in these unattractive

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17

YAMADA, Shoji. "Measuring the Ambiguity of Ukiyo-e Facial Expression." Journal of Japan Society for Fuzzy Theory and Systems 12, no. 4 (2000): 469–76. http://dx.doi.org/10.3156/jfuzzy.12.4_11.

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18

Kang, Tae Woong. "Ukiyo-e and Japonisme in the 21st Century." Korean Journal of Japanese Dtudies 20 (February 15, 2019): 78–99. http://dx.doi.org/10.29154/ilbi.2019.20.078.

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19

Kafū, Nagai, Kyoko Selden, and Alisa Freedman. "Ukiyo-e Landscapes and Edo Scenic Places (1914)." Review of Japanese Culture and Society 24, no. 1 (2012): 210–32. http://dx.doi.org/10.1353/roj.2012.0008.

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20

Nowak, Hannah. "Why is the Geisha Hitting the Westerner? The Japanese Woodblock Print Genre of awate-e." Vienna Journal of East Asian Studies 5, no. 1 (2014): 139–70. http://dx.doi.org/10.2478/vjeas-2014-0006.

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Abstract This paper attempts to bring to light a little-known genre of ukiyo-e (Japanese woodblock prints), the awate-e (hysteria pictures). This genre of polychrome ukiyo-e (nishiki-e) belongs among caricatures because it treats current events in a satirical way. The Namamugi incident (September 14, 1862), when samurai of the Satsuma domain killed one British merchant and injured two, led to the emergence of the awate-e. The British Crown demanded reparations for those killed. While the shogunate postponed payment, British warships gathered in the Bay of Edo to exert pressure. The danger of w

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21

Almazán Tomás, V. David. "Utagawa Kunisada (1786-1865) y la serie Mitate rokkasen (1858): poetas del periodo Heian y teatro kabuki del periodo Edo en el grabado japonés ukiyo-e." Artigrama, no. 24 (December 9, 2022): 757–74. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2009247763.

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Utagawa Kunisada (1786-1865), también conocido como Toyokuni III, fue uno de los más importantes y prolíficos maestros de la escuela Utagawa, especializado en el diseño de los grabados ukiyo-e en varios de sus géneros, entre los que destacan el bijin-ga (mujeres hermosas) y el yakusha-e (actores de teatro). Su gran producción, en cantidad y en calidad, han hecho de Kunisada uno de los artistas más representativos del ukiyo-e, así como uno de los más influyentes en el arte occidental (Japonismo). En este estudio presentamos Mitate rokkasen, una serie de 1858 del género mitate-e (parodias, compa

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22

Almazán Tomás, V. David, and David Lacasta Sevillano. "Literatura japonesa y porcelana Kutani: Escenas del Genji Monogatari en el Museo de Artes y Costumbres Populares de Sevilla." Artigrama, no. 37 (June 30, 2023): 379–98. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379223.

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 Resumen Los numerosos objetos de exportación japoneses llegados a Europa desde la apertura de la era Meiji (1868-1912) propiciaron el fenómeno del Japonismo y el coleccionismo de obras artísticas que hoy forman parte de numerosos museos. Este artículo analiza un conjunto excepcional de veintiuna piezas de porcelana de Kutani (Japón) conservadas en el Museo de Artes y Costumbres Populares de Sevilla procedentes de la colección de Joaquín Soria, cuya decoración son distintos episodios del Genji Monogatari, la gran obra clásica de la literatura japonesa, que sigue los diseños del art

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Tabuchi, T., K. Kobayashi, N. Hiramatsu, et al. "JAPANESE IRIS 'HANA-SYOUBU' IN THE UKIYO-E PICTURES." Acta Horticulturae, no. 769 (June 2008): 421–26. http://dx.doi.org/10.17660/actahortic.2008.769.60.

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24

Kafū, Nagai, Kyoko Selden, and Alisa Freedman. "Selections from “Ukiyo-e Landscapes and Edo Scenic Places”." Review of Japanese Culture and Society 27, no. 1 (2015): 175–83. http://dx.doi.org/10.1353/roj.2015.0018.

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Titareva, Diana Stanislavovna. "The influence of Ukiyo-e on the artistic language of easel graphics of A. P. Ostroumova-Lebedeva in the 1900s-1920s (on the example of St. Petersburg collection of woodblock prints)." Культура и искусство, no. 3 (March 2021): 47–57. http://dx.doi.org/10.7256/2454-0625.2021.3.32778.

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The article reviews and analyzes the key easel graphic works by A. P. Ostroumova-Lebedeva from St. Petersburg collection of woodblock prints, created over the period from 1900s to 1920s. These works resemble the genre of Japanese art Ukiyo-e. The subject of this research is the uniqueness of the artistic language and the means of its expression in the works of A. P. Ostroumova-Lebedeva. Alongside other Russian artists of the turn of the XIX &ndash; XX centuries she was affected by Ukiyo-e, but perceived the Japanese wood engraving on a more profound level. The author examines the works of

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Ryee, milim. "A Study on the Characteristics of Ukiyo-e Publishing Culture." Japanese Cultural Studies 65 (January 31, 2018): 161–80. http://dx.doi.org/10.18075/jcs..65.201801.161.

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27

Ryee, MiLim. "A Study on the Continuity of Ukiyo-e and Photography." Japanese Cultural Studies 80 (October 31, 2021): 199–216. http://dx.doi.org/10.18075/10.18075/jcs..80.202110.199.

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Ryee, MiLim. "A Study on the Continuity of Ukiyo-e and Photography." Japanese Cultural Studies 80 (October 31, 2021): 199–216. http://dx.doi.org/10.18075/jcs..80.202110.199.

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29

Takata, Kazuyuki. "Toshusai Sharaku: The Enigmatic Ukiyo-e Master, and all aronnd." Japanese journal of ergonomics 43, no. 2Supplement (2007): 2–3. http://dx.doi.org/10.5100/jje.43.2supplement_2.

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30

Allen, Laura W., and Sandy Kita. "The Last Tosa: Iwasa Katsumochi Matabei, Bridge to Ukiyo-e." Monumenta Nipponica 54, no. 4 (1999): 569. http://dx.doi.org/10.2307/2668337.

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Giovanni, Salvagnini Zanazzo. "Approcci francesi al Giappone: Moges, Chassiron, le stampe ukiyo-e." Aura, no. 3 (September 16, 2023): 1–14. https://doi.org/10.5281/zenodo.8345152.

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The article resumes French encounter with Japan after the reopening of its frontiers in 1853 (<em>Bakumatsu</em> period). After an overview of diplomatic and economic relations between the two countries in the first years, it analyses the case of two early French <em>ambassadeurs</em>, Alfred de Moges and Charles de Chassiron, who have to approach the new country without possessing an adequate knowledge and indulge in some features of the rhetoric of Elsewhere. In the second part of the essay, the possible reasons of the <em>étonnant</em> success that the <em>ukiyo-e </em>prints had in

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Tyagunova, E. O. "Japanese Woodblock Prints From the Second Half of the 19th to Early 20th Century in the Context of the Influence to the Western Art." Art & Culture Studies, no. 4 (December 2021): 198–215. http://dx.doi.org/10.51678/2226-0072-2021-4-198-215.

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There are known periods of development of Japanese traditional ukiyo-e engraving: from its origin in the 17th century and its flourishing in the 18th — first half of the 19th century to the “decline” in the second half of the 19th century. The period of Meiji Restoration (1868–1912) was marked by the opening of Japan after more than two hundred years of self-isolation, acquaintance with Western achievements in the field of industry, science and art. The article discusses the search of combination of Western and national traditions by Japanese artists. Familiarity with the new artistic language

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Hashimoto, R. Y., E. S. K. Menon, and J. Fiorillo. "Analysis of Metallic Pigments Used in 19th Century Japanese Prints." Microscopy and Microanalysis 5, S2 (1999): 594–95. http://dx.doi.org/10.1017/s1431927600016299.

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Japanese color woodblock prints ("ukiyo-e") from the Edo (1615-1868) and Meiji periods (1868- 1912) are among the most celebrated examples of color printmaking in the world. Full-color prints became technically and commercially viable around 1765. Traditional ukiyo-e colorants were watersoluble, uniform, translucent, organic (vegetal) and inorganic pigments of very small particle size. (Synthetic colorants were also introduced from the West in the 19th C, probably beginning with "Prussian blue" in the 1820s.) A pigment was applied with a brush to a color block, and then rice flour paste was mi

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Yi, Yuxi. "The Fusion of Japanese Zen Aesthetics and the Image of Machi-Man (Townspeople) – Reflections in Ukiyo-e and 19th Century Paris Montmartre Art." International Journal of Culture and History 10, no. 2 (2023): 54. http://dx.doi.org/10.5296/ijch.v10i2.21383.

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The three core elements of Japanese Zen art aesthetics are mono no aware, yugen, and wabi-sabi, but these are only modern research interpretations of Zen art aesthetics. By tracing the roots of Rinzai Zen Buddhism from China, free from the written word, this paper finds that Zen Buddhism has influenced Japanese culture in both thought and life and has fused the cultural practices of the Japanese townspeople's society over time. Therefore, the article analyzes the connection between the Japanese Zen aesthetics and the culture of the Machi-man (townspeople). At the same time, the paper also argu

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Ryee, MiLim. "A study on 《Northern Goshikisumi》 to Utamaro and his ukiyo-e." Center for Japanese Studies Chung-ang University 41 (May 31, 2016): 69. http://dx.doi.org/10.20404/jscau.2016.05.41.69.

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Bayou, Hélène. "Du Japon à l’Europe, changement de statut de l’estampe ukiyo-e." Arts asiatiques 66, no. 1 (2011): 155–76. http://dx.doi.org/10.3406/arasi.2011.1759.

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Hsu, H. L. "The Globalization of Perspective: Geography, Ukiyo-e, and American Realist Painting." Genre 36, no. 3-4 (2003): 317–40. http://dx.doi.org/10.1215/00166928-36-3-4-317.

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Navarro Polo, Sergio. "La Colección de ukiyo-e del Museo del Cau Ferrat (Sitges)." Artigrama, no. 3 (December 9, 2022): 335–48. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.198637605.

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Bawin, Julie. "Le japonisme en Belgique. L'affiche Art nouveau et l'estampe ukiyo-e." Bulletin de la Classe des Beaux-Arts 14, no. 1 (2003): 47–69. http://dx.doi.org/10.3406/barb.2003.20786.

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Ibaceta González, Estefanía. "From Home to Brothel: reflections on domestic and public space in Ukiyo–e." Revista de Antropología Visual 6, no. 33 (2025): 1–17. https://doi.org/10.47725/rav.033.01.

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Image studies are opening up to incorporate the question of space into their reflections, contributing to questions from various disciplines about the relationship between both dimensions. Specifically, I focus on the implications of space for image studies, seeking to contribute a critical look at the role that this notion has in understanding the images that populate the imaginary of the domestic and those who are usually associated with this place: women. Based on the work of Henri Lefebvre, Mona Chollet and Michelle Perrot, we discuss how to understand the relationship between space and th

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Akihiro, Ozaki. "Meeting of Asia and the Netherlands: On Van Gogh’s Challenge in Emulating Rembrandt." Intercultural Relations 4, no. 2(8) (2021): 37–51. http://dx.doi.org/10.12797/rm.02.2020.08.02.

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The essay grew out of an issue I had been pondering for some time and is an attempt to gain an insight into a secret Van Gogh was eager to discover while comparing himself as an artist with “Rembrandt, the magician”. Van Gogh was convinced that art could succeed where religion had failed. Moreover, there was no need for art to be directly connected with Christianity as a system. For Van Gogh, in this frame of mind, the art of “Japan”, as exemplified by the genre of ukiyo-e, and such like, provided hope. Rembrandt, too, saw oriental art not so much as art in itself but as a method of expressing

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Yin, Huiyi. "Unveiling Cross-Cultural Hidden Nexus: An Analysis of Chinas Contribution to the Cultural Influence of the East on the West." Communications in Humanities Research 31, no. 1 (2024): 105–14. http://dx.doi.org/10.54254/2753-7064/31/20231978.

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Even though the cultural communication between Japan and Europe is massively documented, such as the impact of ukiyo-e prints on Impressionism, Chinese culture's enormous contributions are overlooked. Ukiyo-e is often regarded as the primary source that influenced Impressionism from the East during the Meiji Restoration in the fin de sicle. The East's impact on the West is long-lasting rather than explosive. The critical power of traditional Chinese art and innovations, for example, the moveable type printing, over the evolution of European art movements has yet to be noticed due to political

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Korenberg, Capucine. "Variations in Hiroshige’s Print “The Plum Garden at Kameido”." Heritage 8, no. 2 (2025): 74. https://doi.org/10.3390/heritage8020074.

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This work examines variations in Utagawa Hiroshige’s “The Plum Garden at Kameido” by studying 82 surviving impressions of the print. Through comparative analysis, differences were observed across printings, driven by changes in woodblocks, block wear, colourants and printing techniques. Four distinct printing ‘states’ were identified, reflecting evolving production methods and adaptations to meet commercial demands, but also woodblock wear. Early impressions preserve Hiroshige’s artistic intent more faithfully, featuring intricate printing effects, a greater number of printing steps and minima

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Bell, David. "Floating world at Te Papa: the Heriot collection." Tuhinga 30 (June 1, 2019): 56–81. https://doi.org/10.3897/tuhinga.30.e34248.

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This article examines Edo period (1603–1868) Japanese artworks acquired by the Museum of New Zealand Te Papa Tongarewa from the Ian and Mary Heriot collection in 2016. It situates its commentary on these works of art in the context of the emergence of a new, affluent, educated middle class and a new ‘floating world’ sensibility that favoured the enjoyment of literature, visual and decorative arts, kabuki theatre and the teahouses, restaurants and pleasures of the Yoshiwara licensed brothel district of Edo, the city we know today as Tokyo. It constructs a historical narrative for the broader de

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Almeida, Flavio. "Cultura visual japonesa: a intersecção entre arte e o design gráfico." ARS (São Paulo) 15, no. 29 (2017): 146. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.122067.

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Neste artigo, será abordada a relação e as influências estéticas entre as artes tradicionais do Japão e a comunicação visual contemporânea, em especial o design gráfico japonês. A arte desenvolvida durante o período de isolamento do Japão tem notável influência na linguagem estética da comunicação comercial. Para investigar essa relação, a questão sobre a abordagem investigativa das artes e do design gráfico será problematizada para definir um caminho metodológico a ser seguido. Posteriormente, o desenvolvimento de três linguagens artísticas japonesas (ukiyo-e, sumie e rinpa) será contextualiz

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Hammouri, Ali. "The Influence of Japanese Ukiyo Art on Henri Toulouse-Lautrec's Poster Designs in the Context of European Art." Dirasat: Human and Social Sciences 49, no. 6 (2022): 38–49. http://dx.doi.org/10.35516/hum.v49i6:.3987.

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This research aimed to show The Influence of Japanese Ukiyo Art on Henri Toulouse-Lautrec's Poster Designs in the Context of European art, through selecting and analyzing five artistic poster works for the French artist Henri Toulouse-Lautrec as a case for the study. The researcher used the historical, survey and comparative methodology in his analyzing process, to reach the answer of the study hypothesis. The research sets up six criteria to show the influence of Japanese art on Lautrec works as abstract, simplicity, absence of shade and shadow, the absence of third dimension, flat shapes, bo

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Żeromska, Estera. "Kobieta i kobiecość w oparach ulotnego świata (ukiyo), czyli na pograniczu świata i artystycznej ułudy (na przykładzie teatru kabuki i drzeworytu ukiyo-e)." Porównania 12 (December 2, 2013): 225. http://dx.doi.org/10.14746/p.2013.12.11073.

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Junsop Lee. "A Study on the Information Power of Ukiyo-e and its Traces." Journal of the society of Japanese Language and Literature, Japanology ll, no. 80 (2018): 485–504. http://dx.doi.org/10.21792/trijpn.2018..80.024.

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Edgren, J. S. "Late-Ming Erotic Book Illustrations and the Origins of Ukiyo-e Prints." Arts asiatiques 66, no. 1 (2011): 117–34. http://dx.doi.org/10.3406/arasi.2011.1757.

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Miura, Kayo, and Motoko Koike. "Judgment, interpretation and impression of gaze direction in an Ukiyo-e picture1,2." Japanese Psychological Research 45, no. 4 (2003): 209–20. http://dx.doi.org/10.1111/1468-5884.00224.

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