Kirjahaku

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 creative talents of individual artists, revealing instead the many identities that made and disseminated printed work. Julie Nelson Davis demonstrates by way of examples from the later eighteenth century that this popular genre was the result of an exchange among publishers, designers, writers, carvers, printers, patrons, buyers, and readers. By recasting these works as examples of a network of commercial and artistic cooperation, she off ers a nuanced view of the complexity of this tradition and expands our understanding of the dynamic processes of production, reception, and intention in fl oating world print culture.Four case studies give evidence of what constituted modes of collaboration among artistic producers in the period. In each case Davis explores a different configuration of collaboration: that between a teacher and a student, two painters and their publishers, a designer and a publisher, and a writer and an illustrator. Each investigates a mode of partnership through a single work: a specially commissioned print, a lavishly illustrated album, a printed handscroll, and an inexpensive illustrated novel. These case studies explore the diversity of printed things in the period ranging from expensive works made for a select circle of connoisseurs to those meant to be sold at a modest price to a large audience. They take up familiar subjects from the floating world - connoisseurship, beauty, sex, and humor - and explore multiple dimensions of inquiry vital to that dynamic culture: the status of art, the evaluation of beauty, the representation of sexuality, and the tension between mind and body.Where earlier studies of woodblock prints have tended to focus on the individual artist, Partners in Print takes the subject a major step forward to a richer picture of the creative process. Placing these works in their period context not only revealsan aesthetic network responsive to and shaped by the desires of consumers in a specific place and time, but also contributes to a larger discussion about the role of art and the place of the material text in the early modern world.

Today we think of ukiyo-e-"the pictures of the floating world"-as masterpieces of Japanese art, highly prized throughout the world. Yet it is often said that ukiyo-e were little appreciated in their own time and were even used as packing material for ceramics. In Picturing the Floating World Julie Nelson Davis debunks this myth and demonstrates that ukiyo-e was thoroughly appreciated as a field of artistic production, worthy of connoisseurship and canonization by its contemporaries. Putting these images back into their dynamic context, she shows how consumers, critics, and makers produced and sold, appraised and collected, described and recorded ukiyo-e. She recovers this multilayered world of pictures in which some were made for a commercial market, backed by savvy entrepreneurs looking for new ways to make a profit, while others were produced for private coteries and high-ranking connoisseurs seeking to enrich their cultural capital. The book opens with an analysis of period documents to establish the terms of appraisal brought to ukiyo-e in late eighteenth-century Japan, mapping the evolution of the genre from a century earlier and the development of its typologies and the creation of a canon of makers-both of which have defined the field ever since. Organized around divisions of major technological and aesthetic developments, the book reveals how artistic practice and commercial enterprise were intertwined throughout ukiyo-e's history, from its earliest imagery through the twentieth century. The depiction of particular subjects in and for the floating world of urban Edo and the process of negotiating this within the larger field of publishing are examined to further ground ukiyo-e as material culture, as commodities in a mercantile economy.Picturing the Floating World offers a new approach: a critical yet accessible analysis of the genre as it was developed in its social, cultural, and political milieu. The book introduces students, collectors, and enthusiasts to ukiyo-e as a genre under construction in its own time while contributing to our understanding of early modern visual production.

Japanese artist Kitagawa Utamaro (1753–1806) was one of the most influential artists working in the genre of ukiyo-e, ‘pictures of the floating world’, in late eighteenth-century Japan, and was widely appreciated for his prints of beautiful women. In this book, Julie Nelson Davis draws on a wide range of period sources, makes a close study of selected print sets and reinterprets Utamaro in the context of his times. Offering a new approach to issues of the status of the artist and the construction of gender, identity, sexuality and celebrity in the Edo period, and now in an updated edition containing a new preface and many new images, this book is a significant contribution to the field, and will be a key work for readers interested in Japanese arts and cultures.