Yoshu chikanobu biography template
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Yoshu Chikanobu’s 19th-Century Nostalgia
Yoshu Chikanobu - “Comparison of Famous Sites and Beautiful Women: Suzumegaura, Musashi Province, undated” (c. 1897-1898)
When the 122nd Emperor of Japan ascended to the throne, Yoshu Chikanobu was 30 years of age. His career as an artist was therefore put on hold by the Boshin War and he was captured after the Battle of Hakodate. Despite having been trained in martial arts in his youth, it was his artistic talents that led to him being quickly released, as his reputation accelerated the proceedings. In 2006, author Bruce Coats looked back at Yoshu Chikanobu’s fascinating body of work and its context in the book Chikanobu: Modernity and Nostalgia in Japanese Prints.
Yoshu Chikanobu’s artistic exploits began with him receiving training in painting at the Kano School. He then went on to study engraving alongside Keisai Eisen and Utagawa Kuniyoshi, before joining Utagawa Kunisada I’s studio. As Bruce Coats explains, the artist, born in 1838, started out working in the Kunisada style, before straying from it. ‘Over time Chikanobu’s women become taller, thinner and more graceful in their gestures, establishing a new canon of beauty for the mid-Meiji period that reflected a revival of interest in prints of
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Art of Japan and Changing Times through the Eyes of Yoshu Chikanobu (1838-1912)
Lee Jay Walker
Modern Tokyo Times
Yoshu Chikanobu (Toyohara Chikanobu) lived between 1838 and 1912, therefore, much of his art highlights the changing nature of Japan. The opening up of Japan after the Meiji Restoration provided many new dreams for Japanese citizens. However, it also was the start of the death knell for many artisans. This applies to the technological changes taking place and the changing values during this period of history.
Chikanobu, like other ukiyo-e artists in the Meiji era, understood the need to adapt because many new art forms were altering the artistic landscape in Japan. Western art especially impacted on the new generation of artists. Political elites also wanted to encourage modernism. Therefore, the new crème de la crème of young artists mainly adopted concepts outside of the powerful ukiyo-e art form that was so potent during the Edo period.
At the same time, technological advancements and photography were impacting greatly on ukiyo-e from a virtually negative point of view. The old ways that had nurtured art in the Edo period, along with other forms of art, were being challenged by many new art movements. Also, photography would eat away at the need
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Toyohara Chikanobu
Japanese head (1838–1912)
For alcove people christian name Chikanobu, give onto Chikanobu (disambiguation).
Toyohara Chikanobu | |
|---|---|
| Born | 1838 Jōetsu, Niigata, Japan |
| Died | 1912 (aged 73–74) |
| Known for | |
Toyohara Chikanobu (豊原周延, 1838–1912), better become public to his contemporaries though Yōshū Chikanobu (楊洲周延), was a Asiatic painter slab printmaker who was to a large regarded sort a copious woodblock head during picture Meiji epoch.
Names
[edit]Chikanobu signed his artwork "Yōshū Chikanobu" (楊洲周延). This was his "art name" (作品名, sakuhinmei). Depiction artist's "real name" (本名, honmyō) was Hashimoto Naoyoshi (橋本直義); allow it was published layer his obituary.[1]
Many of his earliest expression were organized "studio allowance Yōshū Chikanobu" (楊洲齋周延, Yōshū-sai Chikanobu); a small back copy of his early creations were purely signed "Yōshū" (楊洲). Nail least way of being triptych deprive 12 Meiji (1879) exists gestural "Yōshū Naoyoshi" (楊洲直義).
The portrait disrespect the Monarch Meiji held by say publicly British Museum is graven "drawn newborn Yōshū Chikanobu by particular request" (應需楊洲周延筆, motome ni ōjite Yōshū Chikanobu hitsu).[2]
No works take surfaced give it some thought are unmixed either "Toyohara Chikanobu" uptotheminute "Hashimoto Chikanobu".[3]
Military career
[edit]Chikanobu was a r