In 1920, Hasui released his first falling snow print, receiving resounding international acclaim from both collectors and critics alike, quickly becoming his most recognizable and desirable subject theme. The purifying effect the snow has on the landscape, lends to the tranquility of the scene with the bright red ancient temples found by Hasui around Tokyo, remains some of his best and most original work. Clearing Sky after Snow, Kannon Temple Asakusa , Hasui 1926 In 1923, the great Tanto earthquake wrought widespread destruction upon Tokyo, mainly from the raging fires that ripped through predominantly wooden structures, in what some describe as a sea of swirling tornados, walls of fire, brought upon the Japanese by the wrath of God. Hasui’s house, along with his life’s work of sketch pads and paintings, were all consumed by the flames. His main publisher, Watanabe Shōzaburō’s studio, was destroyed as well, losing all of the original carved woodblocks from a number of shin hanga artists. It is from the Tanto quake of 1923 that the term “pre-earthquake” is derived when describing shin hanga prints. Hasui prints typically fall into three main categories, based upon the actual time they were produced, which is often confusing and/or used to mislead collectors as many are sold without indication of their “Afterlife” edition status. Printed to this day, these afterlife editions have all been printed using either the original blocks that still remain in decent condition, have been recarved by S. Watanabe from a period directly after the earthquake until his death, or copied even later by Watanabe’s grandson, who now runs the studio. These after-life printings make up the bulk of the Hasui market found on many internet listings today and do offer some collectors an affordable means of collecting/owning a “Hasui” as long as they are not sold on misleading terms. To be continued...

Hiroshi Yoshida was a 20th-century Japanese painter and woodblock printmaker. He is considered one of the leading figures in the revival of Japanese printmaking after the Meiji period in 1912. Hiroshi Yoshida was born on September 19, 1876, in the Fukuoka Prefecture in Kyushu, southern Japan. He was born Hiroshi Ueda, the second son of Ueda Tsukane, a schoolteacher from an old samurai family. But in 1891, he was adopted by his art teacher, Yoshida Kasaburo, and took his surname. At age 19, he was sent to Kyoto to study under Tamura Shoryu, a well-known teacher of Western style painting. The following year to Tokyo to join a private school where he also joined the Meiji Fine Arts Society. These institutions were teaching and encouraging Western-style painting following the opening up of Japan in 1868 after 200 years of Shogunate rule. Yoshida traveled widely his portfolio of designs were taken from famous landmarks executed in traditional Japanese art styling mixed with his training in the West. The Taj Mahal, Yosemite National Park, and the Grand Canyon are some notable areas he incorporated in his prints. Below Night in Taj Mahal No. 6 From 1899 to 1901, Hiroshi Yoshida made the first of many visits to the USA and Europe, where he successfully exhibited, made artistic connections, and sold his watercolors. His first American exhibition was held at the Detroit Museum of Art (now Detroit Institute of Art). In 1902, Hiroshi co-founded the Taiheiyo-Gakai (Pacific Painting Organization) and his market in the West for his work and went to the USA, Europe, and North Africa in 1903-7 with his stepsister and fellow artist Fujio (the daughter of his adopted father), whom he married on their return. From then until 1920, he concentrated on oils and watercolors in the light and airy style he had learned in the West. In 1920, Yoshida presented his first woodblock print at the Watanabe Print Workshop, organized by Watanabe Shōzaburō (1885–1962), publisher and advocate of the shin-hanga movement, who was looking for a Western-style artist to create traditional Japanese woodblock prints. Tragically on September 1, 1923, the great Kanto earthquake brought disaster upon the Yokohama-Tokyo metropolitan area, which almost entirely burned to the ground. With an entire cityscape made almost entirely out of wood, fires were a frequent issue, as it was not the first time uncontained fires had destroyed Tokyo. Yoshida's house was burned down, along with the original woodblocks and designs he kept. The same fires destroyed almost all Kawase Hasui's initial sketches and paintings and Watanabe Shozuburo's printmaking studio. The original woodblocks of almost every shin hanga artist using Watanabe's studio in and around 1923 went up in smoke, lost to the world. In the subsequent years following the disaster, Watanabe would loosen his strict policy, which, before the earthquake, limited the number of prints issued in the first edition to no more than 100-200 printings. Second and third edition numbers varied, depending on the popularity of the design, typically falling between 200-400. As Watanabe and his roster of all-star shin hanga artists began picking up the pieces of their life's work, he was now publishing sometimes 300 prints in the first and even more significant amounts of second and third editions, many of which bear no markings as to edition. Many of his best-selling designs were recarved, with some designs rumored to have been printed as much as ten to twenty thousand times, although no one can know for sure. Yoshida left for the USA once more to raise funds for himself and others; he toured through the western USA and realized that excellent prints were eagerly sought in North America. On his return, he established his studio and began to produce his designs in print form. From 1925 onwards, Yoshida devoted his career to prints, supervising all aspects of their production and holding very high standards. In 1931 a series of prints depicting scenes from India, Pakistan, Afghanistan, and Singapore was published. Morning mist on Taj Mahal no. 5 Six of these were views of the Taj Mahal in different moods and colors. Original Hiroshi Yoshida woodblocks are held by several museums worldwide, including the British Museum, the Toledo Museum of Art, the Brooklyn Museum, and the Harvard Art Collection. The traditional process of creating Japanese woodblock prints necessitated three strictly separated skills: the artist who designed the print subject, the carver, and finally, the printer and publisher. In contrast to this traditional approach, the sosaku hanga artist's believed that the process of creating a print - design, caring, printing - should be performed by the artist himself. The prints during this time were sealed with the Jizuri seal -Jizuri meaning self-printed and is meant to showcase the fact that he had a major role in the printing process. In the Watanabe print shop, painters, carvers, and printers had equal input, with the publisher as the ultimate director. Hiroshi Yoshida believed that the painter, as the initial creator of the design, should have supreme authority and that he, as the painter, should supervise the carvers and printers and, in so doing, direct every step of the production. One of the reasons why he split away from his previous association with the Watanabe Print Shop: was to have complete control of his prints from painting to print. He said he needed more skills than the artisans he supervised to use their talents fully, so he constantly strove to expand his knowledge of woodblock carving and printing techniques. Hiroshi Yoshida's art fostered an artistic lineage that maintained over four generations of Yoshida's family legacy including two of Hiroshi's sons, Toshi Yoshida 吉田 博 (191,1-1995) & Hodaka Yoshida (1926-1995). How to identify a Hiroshi Yoshida Signature? Hiroshi Yoshida's signature can vary regarding impressions or the targeted market. Some print examples feature Japanese signatures with Suma ink. Aside from the graphic design, Hiroshi Yoshida's signature has many uses. In the end, Hiroshi Yoshida's print awaited a demand and signed it. Hiroshi Yoshida prints have varied values ranging from hundreds to hundreds. What determines the value of Hiroshi Yoshida prints? Types of artworks and their quality affect the value of the artwork. Several varieties in Hiroshito Yoshida's artwork help identify his creation. Prints with red-colored inscriptions are considered the most precious because they are relatively rare, as most jizuri seals have black and brown stampings. Japanese Artwork and woodblock prints by Hiroshi Yoshida Taj Mahal (1932) Hiroshi Yoshida, Morning Mists on Taj Mahal, N°5 Hiroshi Yoshidas Taj Mahal paintings show some images captured by Yoshida during his travels during his career. The bright sun of India offers Yoshida an optimal atmosphere to balance the cool air provided by trees and shadows. Taj Mahal has always stood out in this regard. True to form, the people the artist Hiroshi Yoshida depict wear colorful colors to distinguish their surroundings and give a deeper depth to the environment. Temple Yard (1935) The panoramic views of The Temple Yard capture Yoshida's ability to integrate color, shape, and color seamlessly. Cherry blossoms and pink skies contrast with blue shades that create contrast in the background. The temple is in the center, and the bright women's kimonos draw the eye toward the scene. Among his many talents, Yoshida was a gifted photographer. The reflection on the lake is imperfect, so it's easy to imagine the waters being touched. Pittsburgh (1928) It measures 14x5 inches. Hiroshi Yoshida also called the evening at Pittsburg. He made these woodblock prints in 1928. Soft skies contrast against deep moody colors on a bridge/boat. A negative space representing a fog can be magnified using a warm, yellow light that illuminates the boat reflecting from its surface. Hiroshi Yoshida, in the Templeyard. Grand Canyon (1925) Grand Canyon prints measure 11.5x16 inches. Bright blue and oranges bring dimension into canyons, while deeper blue, green and gray enhance contrast, giving the impression that the sunshine illuminates part. Mount Rainier (1925) Among Yoshida's earliest works, this painting portrays the American landscape. The piece measures 15x21 inches and is a larger format for the artist. Yoshito, Taj Mahal number 1. Kameido Bridge (1927) Kameido Bridge is part of the 12-part series known as Hiroshi Yoshida's masterpiece. It has 75 prints. Its trademark contrast between pink and blue shades is seen across darker hues. Other works by the artist: Farm House Noka by Hiroshi Yoshida Jizuri Seal Fujiyama from Okitsu by Hiroshi Yoshida Jizuri Seal Night in Kyoto by Hiroshi Yoshida A Glimpse of Ueno Park by Hiroshi Yoshida Jizuri Seal The Cherry Tree in Kawagoe by Hiroshi Yoshida Omuro by Hiroshi Yoshida Spring Rain at Yozakura by Hiroshi Yoshida Jizuri Seal Plum Gateway by Hiroshi Yoshida Jizuri Seal In a Temple Yard by Hiroshi Yoshida Chion-in Temple Gate by Hiroshi Yoshida Tea House in Azalea Garden by Hiroshi Yoshida Jizuri Seal THREE LITTLE ISLANDS by Hiroshi Yoshida MISTY DAY IN NIKKO KAGURAZAKA DORI AFTER A NIGHT OF RAIN COURT MÉTRAGE NEW Avenue of Cherry Trees by Hiroshi Yoshida Jizuri SeaL What is Shin Hanga style? Shin hanga - a Japanese art movement that integrates Western elements with the traditional Japanese woodblock print. Instead of imitating a Western art style, this movement primarily focused on traditional subjects such as landscapes, beautiful women, and actors' portraits.

An e- I goyomi Japanese woodblock print of a Rabbit containing a "secret" calendar for the year 1783, by Shiba Kokan. The rabbit jumps over a tuffet. A lacquered sword scabbard is placed over the "tuffet" and the reflected image is corrected. The months are the black spots on the rabbit's fur.

An Edo Gallery Blog A brief visit to the birth of early ukiyo-e (woodblock prints), the start of the Edo period in Japan, and the circumstances that created an environment ripe for creativity among the artisans and merchants, and the appetite of the Japanese pleasure districts for art, theatre, and entertainment. A great dragon's ascent through the storm to Mt. Fuji. Double e-hon book plates by the artist, Katsushika Hokusai, in 100 views of Mt. Fuji. Discover the art of Japan, the Edo period, and the lasting influence imparted by the artisans employed by the master's of Ukiyo-e print making.

Shoki the Demon Queller by Masanobu Right: Hashira-e (Japanese Pillar Print) depicting a Shoki by Okumura Masanobu from the Edo Gallery Collection Okumura Masanobu, a legendary Japanese artist of the eighteenth century, is renowned for his masterpieces that depict various aspects of everyday life, history, and mythology. Among his many notable works is a captivating hashira-e titled “Shoki the Demon Queller.” This article explores the genius of Okumura Masanobu and delves into the significance of his portrayal of Shoki, the legendary figure who battled demons. He is said to have been the inventor of the Japanese pillar print (Hashira-a) – a style of Japanese woodblock print popular during the Edo period. He gained considerable fame for his contributions to the development of the ukiyo-e genre, particularly his experimentation with new techniques and subject matter. Born at the end of the 17th Century(1686 Japanese Edo period) Okumura Masanobu started his life during a time of great peace and prosperity for the island of Japan. Its citizens, at the onset of the Tokugawa rule, were cleansed of almost all Western influence after a violent purge of all things and people, especially those related to Catholicism. The purge left not a single surviving Westerner, Jesuit priest, or Japanese convert, a twenty-year genocide leaving a butcher’s bill estimated at around 50,000. By the year 1630, all contact with the outside world was limited to a single small island, bequeathed to the Dutch, tolerated simply because they did not push Christian teachings on the Japanese, the only Westerners smart enough to remain impartial to the fanaticism sweeping the kings and queens of the western world -an imperialistic rat race to conquer, and convert as many heathen souls and barbarian lands to Christianity. Vatican’s call to arms and the race between European nations and their A close-up of Masanobu's Shoki imperialistic dreams of establishing as many colonies as possible amongst the New World heathens.  non-fanatical Catholics including a great deal of newly converted Japanese Christians, ruled by the Tokugawa Shogunate, were cast into society by the feudal ranking system favored by those who followed the heavily influenced Confucian schools of thought under the Buddhist religion. It was due to this time of isolation and prosperity that the Japanese Samurai class and craftsmen flocked to Japanese cities. Art, literature, poetry, and theatre all thrived under this system. The wealthy samurai class needed items that signified their wealth and power, fueling an industry of craftsmen competing in their craft to produce everyday objects into masterpieces. Lacquer bottles, dishes, woodblock printing, swordsmiths, bottle makers, Jewelers, fashioning works of art out of the simplest of things. While the handling of money was seen as beneath the samurai class, it became an inevitable part of everyday life, a necessity that granted a newfound power to the lower classes, evening the playing field between the ruling 5% samurai and the craftsman and merchant classes. Art and creativity thrived in the atmosphere of what the Japanese referred to as “the floating world”, the booming pleasure districts nurtured a rich Japanese culture, captured and portrayed in ukiyo-e by the famous Japanese woodblock print artists who pushed the boundaries of the printmaking artform, developing a way to mass produce their art and disseminate it to the masses. They created books, gossip papers, theatre promotions(surimono), Kabuki theatre plays, and depictions of famous beautiful bijin-ga and geishas, in addition to the famous landscapes by Hokusai and Hiroshige.  Shoki the Demon Queller steps through the "pillar" To the left: Shoki walking across the Pillar creates the illusion of catching a glimpse of the Shoki as if he were striding past an open doorway. (image from Wikipedia) The woodblock print can be credited for helping to spread literacy amongst both the men and women population during the Edo period, which helped the Japanese usher in an industrial age rather quickly after the fall of the Shogunate. Masanobu, painter and publisher of illustrated books introduced innovations in woodblock printing and print-design technique in Japan. Masanobu taught himself painting and print designs by studying the works of Torii Kiyonobu (died 1729), thus starting his career as Torii’s imitator. About 1724 Masanobu became a publisher of illustrated books and brought out his own works. He was one of the first to adopt a Western perspective through the Chinese prints available in Edo at that time. He produced large-scale prints depicting such scenes as the inside of theatres, stores, and sumptuous living quarters. Such prints were called uki-e (“looming picture”) prints for the foreshortening perspective effects they produced. He is also said to have founded the format of habahiro hashira-e, or wide, vertical prints. His style was noted for its vividness with gentle and graceful lines, which also showed restraint and dignity.     Okumura Masanobu executes the Shoki in the trademark urushi-e style of thick flowing black lines of which he is considered a master. He is also the first artist to begin experimenting with the hashira-e format. Pillar prints became massively popular during the Edo period, as the narrow format created interesting design characteristics for artists to explore. Sadly for us, this also means that intact examples of pillar prints are scarce, due to the fact that people actually decorated their homes with them. “Shoki the Demon Queller,” often referred to as showcases Masanobu’s exceptional skills and creativity as an artist. The piece depicts Shoki, a mythological figure originating from Chinese folklore, who is known for his ability to ward off evil spirits and demons. Shoki is often depicted wearing elaborate garments, brandishing a sword, and possessing the strength to conquer any malevolent force. Masanobu’s portrayal of Shoki in “Shoki the Demon Queller” follows the traditional iconography associated with the mythological figure. Shoki is depicted in a dynamic pose, as if captured mid-action, embodying his ability to move swiftly and protectively. The artist’s meticulous attention to detail is evident in the intricate rendering of Shoki’s intimidating facial expression, conveying both his courage and determination. Moreover, Masanobu’s masterful use of movement in this woodblock print is truly captivating. He carefully manipulates lines and forms and creates a sense of dynamism. The flowing robes, cascading hair, and swirling clouds contribute to the composition’s energy, ultimately enhancing the viewer’s appreciation of Shoki’s heroic presence. Masanobu the "pillar father" The choice to depict Shoki as the central focal point of the artwork exemplifies Masanobu’s artistic vision. By isolating and magnifying the figure of Shoki, the artist highlights his significance within the realms of Japanese folklore and mythology. Shoki’s role as the protector against evils and demons resonates with the popular belief in the Edo period that the piece was created, reflecting the societal need for supernatural guardians and heroes. “Shoki the Demon Queller” showcases Masanobu’s technical prowess and mastery of woodblock printing. His skillful use of color, texture, and shading creates a visually stunning piece that is both aesthetically pleasing and thematically rich. The composition’s vibrant palette enhances the sense of drama and intensity, effectively conveying the eternal battle between good and evil, which Shoki embodies. We highlight the significance of this particular artwork in the artist’s oeuvre. Not only does it serve as a masterpiece in its own right, but it also represents the artist’s ability to capture dynamic movement and convey timeless narratives through his works. In conclusion, Okumura Masanobu’s artistic legacy continues to inspire and captivate audiences even centuries after his passing. Masanobu’s hashira-e (pillar prints) depicting “Shoki” remains an outstanding representation of his genius, showcasing his ability to infuse life and movement into his woodblock prints. His skillful portrayal of the Shoki executed with his trademark thick flowing black lines, captures the demon queller mid-stride frozen in space and time as if we are witnessing this legend stride past our bedroom door. within the confines of the narrow Japanese pillar. To the right: Masanobu "The Father of the Japanese Pillar". The lines and Form are executed masterfully as well as Masanobu's use of the narrow confines of space inherent in hashira-e designs.

An Edo Gallery Blog Above: No. 23 Morozumi Bungo-no-kami Masakiyo, by Utagawa Kuniyoshi (1797-1861), from his series  Courageous Generals of Kai and Echigo Provinces: The Twenty-four Generals of the Takeda Clan (Kôetsu yûshô den, Takeda ke nijûyon shô)  published in 1848 to 1849 (Image courtesy of a private collection 2023). Is it any wonder why the Lord of Bungo Morozumi Masakiyo, a loyal retainer to the ancient house Tekada, fabled as one of the twenty-four legendary companions most trusted by daimyo Takeda Shingen of Kai Province, dies twice? Or does he... The Lord of Bungo, refusing to simply "go in peace" less he suffers the fate of death or stain of defeat by his enemies, slams his katana hilt first, gauntlets clenched upon naked steal simultaneously guiding its point into his demonic maw detonating a landmine, committing seppuku in explosive fashion, his honor intact. A true follower of the "bushido code", Masakiyo's "see you in hell" gesture becomes enshrined in Japanese samurai lore as he dies one of the three glorified deaths during the battles that took place between the troops of Takeda Shungen of Kai Province and Kenshin Tora of Echigo Province during 1553-1564 at Kawanakajima. Below: Masakiyo's Difficult Battle from the Taiheiki Chronicles (Taiheiki Masakiyo nansen no zu)  by Tsukioka Yoshitoshi. An ardent pupil and protege of Kuniyoshi's school, Yoshitoshi  (imitation being the ultimate respect), pays tribute to his late master's genius in triplicate fashion with his own masterpiece. So, who is this Masakiyo from Kuniyoshi's explosion depicted again in Yoshitoshi's triptych? I began running into discrepancies as to who Masakiyo, as portrayed in Yoshitoshi's triptych, actually is. As Yoshitoshi's triptych is titled Masakiyo's Challenging Battle from the Taiheiki  (Taiheiki, Masakiyo nansen no zu) , suggesting the scene belongs to the Japanese Taiheiki, an epic based on events during the 14th century. This can be immediately ruled out because gunpowder was not introduced into Japan for another two centuries! Yoshitoshi titled his series thusly so as to fly under the radar of the Shogun's political censors, unlike Kuniyoshi, a frequent protagonist to the censors, who did not bother to adhere to the Shogun's law, which censored any publication glorifying any samurai heroes or their battles during the late sixteenth century, the period leading up to the so-called Edo period. The Tokugawa Shogunate was especially sensitive about this time period, as the Tokugawa clan suffered major defeats by the Tekada clan. It was only after a betrayal by Tekada's closest allies which allowed Ieyasu Tokugawa to finally unify Japan once again under a Shogunate. The Edo period marks the ascension of Tokugawa Ieyasu to the rank of Shogun, who established the city of Edo as his capital and thus the beginning of the Tokugawa Shogunate in 1604. Yoshitoshi's Explosion triptych was the first design of the two "explosions" I had viewed. I often feel moments of nostalgia when watching modern Anime or comic books, I often see and feel Yoshitoshi's influence and say to myself, "All roads lead to Yoshitoshi's genius". That perspective changed; however, the moment I saw Kuniyoshi's "Explosion" print, the voice inside my head whispered, "Aha, all explosions lead to Kuniyoshi." Upon Googling for the print's title, it occurred to me that both prints referenced a figure named Masakiyo, and as Kuniyoshi's student, Yoshitoshi did a little creative borrowing from Kuniyoshi, so is the way of genius, or as Einstein put it succinctly, "He stood on the shoulders of giants." I was dismayed, however, by the references to Masakiyo to Sato Masakiyo moniker for the real (Katō Kiyomasa), not to be confused with General Morozumi Masakiyo from Kuniyoshi's print. I thought, wait a minute, this can't be right. Kato Kiyomasa, often celebrated and heavily portrayed by the kabuki theater, while famous for heroic feats in battle, never actually died in battle; he died at the ripe age of 81 after having been poisoned by Ieyasu Tokugawa! After now having viewed both "explosions", a couple of weeks went by, and Eurika! In the lonely doldrums of the early morning, the genius in me sprang into action or at least found something to stand on. I began immediately cropping the Kuniyoshi-explosion.jpg, writing high on my SEO dreams, pinky and trigger finger slapping ctrl + v; I pasted it right under my underlined and emboldened headline,  "A Tale of Two Explosions, Morozumi Masakiyo Dies Twice, Ukiyo-e Style,"  an Edo Gallery Blog, H1 homepage real estate, baby. I must have fallen off my stool because that was two years ago, or was it two kids? My SEO high, long since crushed by the Soken Wix marketing team spamming my cell with their ritzy L.A. area codes; it gets me every time. To be continued....

Distant View of Mount Zôzu from the series Sixty-odd Provinces by Hiroshige A set of the Sixty-odd Provinces recently set a record price at auction of over three million dollars. This crazy price was for an assembled album of sixty prints, meaning each print theoritically sold for 33,000$ USD a sheet. Most of the best designs were far from fine condition, with margins trimmed as well as heavily restored. Avid followers of the print market have been completely flummoxed by a lot of the auction action lately as many great designs are pretty much flopping at auction while two collectors went to war over a soso set of Hiroshige’s landscapes. Sanuki Province: Distant View of Mount Zôzu (Sanuki, Zôzusan enbô) From the series Famous Places in the Sixty-odd Provinces Utagawa Hiroshige Publisher: Koshimuraya Heisuke Blockcutter: Hori Sōji Date: 1855 (Ansei 2), 9th month Medium/Technique: Woodblock print (nishiki-e); ink and color on paper Dimensions: Vertical ôban; Catalogue Raisonné Jansen, Hiroshige's Journey (2004), #56; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 249, ôban #64.31 Description No. 56 (Nankaidô group) on the title page for the series. MFA impressions: *06.823.55 (deaccessioned in 2019), 11.17074, 11.26256 Signed: Hiroshige hitsu 広重筆 Marks: Censor's seals: aratame, Hare 9 Blockcutter's mark: Hori Sôji 改印：改、卯九 彫師：ホリ宗二iiu nioiooe

An Edo Gallery Blog If you are a follower of auction results, then you most likely have a good idea of the recent hammer prices witnessed in auction houses from New York to Tokoyo. Let's start by mentioning the fact that prices for Japanese woodblock prints have been going up at an incredible rate. Take for example the world record price of one point one million dollars(+hammer) at the Christie's NY Japanese sale Sept 22, 2020 by a "Great Wave" from the artist Katsushika Hokusai. A cool 1.3 million dollars after auction fees. Fast forward a mere three years during another Christie's NY sale a mediocre impression of the "Great Wave" realized a price of $2.8 million dollars, doubling the price set on Sept. 2020 in less than three years! During this same time period the world of Japanese woodblock prints would also bear witness to what was seemingly a fluke at the time; a "Zojoji Temple" by the artist Hasui selling for $75,000 hammer at Christie's once again. The auction house at Christie's NY went on to set a new World record for the artist Hasui at $80,000 hammer for a first edition of Hasui's last known print. Another notable mention is the world record hammer price realized by a surimono depicting a downward swimming carp embellished with metallic pigments. So what's the point? Well, besides the doubling of a world record price in a mere 3 years. The overall prices of Shin hanga and Sosaku hanga prints have also been sky rocketing. Will these prices hold up at the upcoming sales this Fall during Asia week? Or will the recent wave of record prices grind to a halt? With the economy in focus and the world going crazy about inflation, people are looking for new places to park their money. The Japanese art world maybe primed for a new wave of record prices this fall.

A dragon approaches Mt. Fuji. E-hon page by Katsushika Hokusai The term Ukiyo-e, translated from Japanese, literally means "images of the floating world". The floating world, during the Japanese Edo period (1614 -1869), was a metaphor, describing the lifestyle of the pleasure districts, entertainment districts built for and maintained by a rising merchant class. To understand the early beginnings of these pleasure districts, we visit the historical beginnings of the feudal system in Japan which began hundreds of years after Europe's feudal states. Rain of Arrows by Kuniyoshi. Southern Court warriors under a barrage of arrows from the much larger Northern forces. A battle from the Taiheiki, an historical epic detailing the fall of the Southern Court, and subsequent extinction of the Southern line of Emperors. The rise of the Shogunate is marked by three distinct periods of time where a Shogun, short for seii taishōgun, "Barbarian quelling general", placed themselves above the seat of the divine imperial emperor. Historically, the title of Shogun was a mandate issued by the imperial government, elevating the head of one of Japan's powerful families as the commander of it's military forces. Early Shogun were appointed in times of need to lead armies fighting northern tribes in the early 8th and 9th centuries, their power was limited to strictly military matters. The Edo period began when the head of the Tokugawa clan, Tokugawa Ieyasu, defeated the warring daimyo factions, uniting Japan once again under his Shogunate. In 1603, Tokugawa established his headquarters in the city of Edo (now Tokyo), marking the beginning of life in Japan during the Edo period. An artisan crafts a barrel. From the 36 views of Mt. Fuji by Hokusai The new feudal government of the Shogunate entrenched the caste system, dividing the Japanese by rank. At the top, the Shogun himself, of the warrior class, or specifically the Samurai warriors loyal to the Shogun, the living embodiment of strength, honor, and family name, these Samurai could do what they wished with near impunity. Below the Shogun, the Daimyos' whom controlled the powerful clans and were given provinces to steward. Those in the warrior class, were given their rank at birth, as the samurai blood lines were passed down through family name. Peasants or farmers constituted the secondary citizen, along with artisans, as the strength of their labor produced the raw materials needed for society to function. In feudal Japan, it was considered beneath Samurai, peasants, and artisans to handle money or make one's living through barter and exchange. This "dirty" task was left to the lowest ranks of the merchant class or money handlers. To the Japanese, honor, and family were put above all else, and making a living profiting from the fruits of another man's labor was considered dishonorable, a merchant would buy from one man only to sell to another at a higher price, this was seen as not providing an essential need to society, and therefore "unclean". The rise of the third and last Shogunate dynasty was largely a result of nostalgia for the "old ways", a society unmarred by foreign influences that were beginning to change the fabric of Japanese society. Westerners had landed on the island of Japan for the first time in 1543, and by the 1600's their influence was by many to be toxic. Thus the island of Japan was closed off from western "barbarianism", and went through a period of relative peace and prosperity. It would not be until 1853, when the American Commodore Perry sailed four steam ships into Tokyo harbor, forcing the Shogunate to open the Island of Japan to the west. Flying Kites by Ando Hiroshige. Towards the end of the Edo period, the merchant class had ballooned, the need for commerce and trade had expanded at a rapid pace. Pleasure districts were fast becoming the entertainment centers for the Japanese, carving out a society within the archaic feudal system, one in which creativity and beauty became the coin of the realm, A world afloat with beautiful geisha, kabuki theatre, and the artistic impressions, rendered into woodblock prints by the great ukiyo-e artists, whom not only pioneered a new form of artwork, they brought the beauty of Japan and the "Japanese aesthetic" to the rest of the world. immortalizing their style, unique perspectives, and way of life for our viewing pleasure for generations to come.

by Roland O. The Waterfall at Dogashima, Japan circa 1890-1930. Courtesy of The Library of Congress #2020684818 After doing a little research on the Dogashima waterfall by Hiroshige II, we stumbled upon these old images of the actual Japanese Dogashima waterfall. The black and white photograph was sold and distributed by Griffth & Griffith, perhaps as an early attempt by westerners to promote a tourism in Japan. Griffeth & Griffith (1851–1923) was an American photographer and major stereoscopic photography publisher, one of a handful of company's publishing early photographic images from around the states, exotic locations such as Japan, Palestine, Puerto Rico, and scenes from the Spanish-American War. These photographs were sometimes offered in novelty sets which showcased the relatively new medium for capturing images at the time; photography. The woodblock print pictured below by Hiroshige I - Dogashima 1852. Below is another image of Dogashima waterfall circa 1889 from the Special Collections and University Archives, University of Massachusetts Amherst Libraries. H.C. White another of the original photographers "The pretty little mountain village of Dogashima, Japan"in 1901, below . Hakone waterfall in the Izu peninsula, below. These days, The izu peninsula is home to a bustling tourism industry, filled with cave tours, hotsprings, waterfalls, and hiking through the various visually stunning places scattered in and around Dogashima. Above, Hiroshige II - Shimofuri Waterfall in Nikko from the series: One Hundred Famous Views in the Provinces; Shokoku meisho. Japan is famous for some of the most beautiful waterfalls in the world. These sites were used by the two ukiyo-e masters; Hiroshige and Hokusai. Below are some of the locations used by both artists. Below, Shimofuri waterfall in Nikko in autumn, present. Below, Kirifuri Waterfall at Kurokami Mountain in Shimotsuke (Shimotsuke Kurokamiyama Kirifuri no taki), from the series A Tour of Waterfalls in Various Provinces (Shokoku taki meguri)ca. 1832 It was from this image below, that I was reminded of the great yellow orb depicted in Amida waterfall by Hokusai, although they are not the same location. Many believe the greener versions of Hokusai's waterfalls to be the earlier edition, however this is not the case. The edition's with the more yellow hue are thought to be the earlier first editions of Hokusai's series. While on the other hand many believe that what some would call the more aesthetically appealing greener version, are in fact the earlier edition. I have noted that in some of the greener impressions, the printing seems to be sharper than the yellower editions, indicating the greener to be the earlier version. A waterfall in Iza, below. below, Amida waterfall - Hokusai Below, The actual amida waterfall pictured today.