Log in | Register | Contact | My Cart (0)

Education

 

History of Japanese Woodblock Prints
Japanese Print Era Dates
How to Read Japanese Woodblock Prints
How to Identify Artists' Signatures
How to Identify Publishers' Marks
How to Identify Censors' and Date Seals
Sizes & Types of Japanese Prints
Caring for your print - Framing Instructions
Building a Collection
Evaluating Art
Glossary
Japanese Photography

 

History of Japanese Woodblock Prints

            The image of a Floating World (Ukiyo) had its origin in Buddhism. It emphasized the transitory and troubled nature of human life. Gradually, during the sixteenth century, this image changed its reference to the ephemeral world of pleasure, luxury, and indulgence.

            By the middle of the seventeenth century, when the ancient feudal wars had ended, Japan entered a period of peace and prosperity. The new Tokagawa Shogunate moved the capital of Edo (Tokyo). As would be expected, Edo became a flourishing commercial center and the townspeople grew steadily in importance and wealth. A new “gay” world arose catering to Edo’s vast population of pleasure seekers. The center of this world was the Yoshiwara (the licensed prostitution district). The Kabuki theatre also prospered and became a national passion. Soon the light-hearted Edoites began to demand a pictorial art of their own.

            The Ukiyo-e artists realized the esthetic charm of the everyday life of their countrymen. They concerned themselves with the beauty of the present world as depicted in pictures of the Yoshiwara and the Kabuki. As the Floating World became more popular, the spheres of life represented included warriors, wrestlers, children, landscapes, flowers, birds etc. The enthusiasm with which the public received these pictures caused Moronobu and his followers to develop and refine the process of wood-block printing.

            A Japanese woodblock print is always said to be the work of the designer, but in truth it is the joint efforts of three independent men- the artist, the engraver, and the printer. A master artist first draws his design that is then pasted down on a finely prepared cherry woodblock. The engraver follows the lines with a sharp knife and hollows out the intervening spaces with a chisel. He uses so much skill and follows the design with such fidelity that the block, when finished, is a work of art. After that, the block is inked and a sheet of dampened paper is laid upon it. The back of the paper is rubbed until the impression is uniformly transferred onto it. This is the key block design. The artist then indicates the colors he wishes to be used and a separate block is carved for every color. Now the printer, using mulberry paper, rubs natural vegetable dyes onto the blocks and transfers each impression in register with absolute perfection. The wonder of all this is the high level of technical achievement combined with pure beauty.

            During this period when Ukiyo-e was developing, Japan had little contact with other countries. When in 1854 Perry finally opened the doors of Japan, these lovely “Images of the Floating World” reverberated around the world. The art world was immediately captured by the vitality, freshness and charm of the Woodblock Print, and since its introduction, it has been avidly collected by such men as- Van Gogh, Gaugan, Monet, Frank Loyd Wright, James Michener to name a few.

            With the ravages of time, war, fire and earthquake, few of these priceless sheets of beauty have survived. However, those who are lucky to know these lovely images of a life lived long ago are captured in a world of enchantment, a world that becomes a passion in their minds as well as hearts. For a Japanese Woodblock Print is a marvel of line, color, and composition. It has a life of its own and is always a joy to behold.

Return to Top

Japanese Print Era Dates

Genna	1615	Jokyo	1684	Meiwa	1764	Ansei	1854
Kanei	1624	Genroku	1688	Anei	1772	Manen	1860
Shoho	1644	Hoei	1704	Temmei	1781	Bunkyo	1861
Keian	1648	Shotoku	1711	Kansei	1789	Genji	1864
Joo	1652	Kyoho	1716	Kyowa	1801	Keio	1865
Meireki	1655	Gembun	1736	Bunka	1804	Meiji	1868
Manji	1658	Kampo	1741	Bunsei	1818	Taisho	1912
Kambun	1661	Enkyo	1744	Tempo	1830	Showa	1926
Empo	1673	Kanen	1748	Koka	1844
Tenna	1681	Horeki	1751	Kaei	1848

 

Return to Top

How to Read Japanese Woodblock Prints

            Part of the fascination of a Japanese woodblock print often lies in its seals and signatures. The ability to “read” or decipher these identifying marks is essential for anyone interested in the art of ukiyo-e; without it, the language of the Japanese print cannot be understood, and the history and origin of each print remain riddles to the untrained eye. Although there are many fine books about woodblock prints, most ignore this crucial point; those that do not, are either quite expensive or out of print. To help you with the process of “decoding” Japanese prints, Ronin Gallery has compiled this basic reference guide. The seals and signatures assembled here pertain to artists who worked within the period of 1680-1940. Although out compilation is not complete, we have taken care to represent the most commonly used seals and signatures. In addition, we have included a glossary of terms, a list of major eras in ukiyo-e, and a section on publishers’ marks. We hope that this pamphlet makes the world of ukiyo-e a more familiar and enchanting place for you.

Return to Top

How to Identify Artists’ Signatures

           Identifying the signature on a print is not an easy task at first. The signature may appear anywhere on a prin. It usually, but not always, is near the publisher’s mark and censor’s seal. Sometimes it is found in a cartouche- a design or demarcated area within a print. In most cases the signature is followed by the characters gwa, fude or hitsu, which mean “drawn by”.

            Artists rarely signed their work with their family names, but used go’s, or pseudonyms. The practice of exceptionally gifted artists adopting their masters’ go’s was customary. Usually, when the same go has been used by more than one artist, a numeral is placed after it, e.g. Toyokuni III. Many artists changed their go’s at different periods in their careers; Hokusai, for example, used as many as thirty-one. To prevent confusion, only the most commonly used go’s are represented here.

 

1. Anchi fl. 1700-1716	36. Kunisada (Toyokuni III) 1786-1864
2. Buncho fl.c. 1765-1792	37. Kuniyasu 1794-1832
3. Chikamaro-Gyosai 1831-1889	38. Kuniyoshi 1797-1861
4. Chikanobu 1838-1912	39. Masanobu 1686-1764
5. Dohan fl.c. 1710-1716	40. Masayoshi 1764-1824
6. Eisen 1790-1848	41. Morofusa 1685-1703
7. Eishi 1756-1829	42. Moronobu c. 1618-1694
8. Eisho fl.c. 1780-1800	43. Sadafusa fl. 1825-1850
9. Eizan 1787-1867	44. Sadahide 1807-1873
10. Gakutei 1786?-1868	45. Sadanobu 1809-1879
11. Gekko 1859-1920	46. Sharaku fl. 1794-1795
12. Goyo 1880-1921	47. Shikimaro fl.c. 1810
13. Gyosai 1831-1889	48. Shucho fl.c. 1790-1803
14. Harunobu 1724-1770	49. Shuho 1898-1944
15. Hasui 1883-1957	50. Shuncho fl.c. 1780-1795
16. Hidemaro fl.c. early 19th century	51. Shunei 1762-1819
17. Hiroshige 1797-1858	52. Shunjo ?-1787
18. Hokkei 1780-1850	53. Shunko 1743-1812
19. Hokuei fl.c. 1829-1837	54. Shunman 1757-1820
20. Hokusai 1760-1849	55. Shunsen 1762-1830
20A. Shunro (Hokusai)	56. Shunsen 1886-1960
21. Hokushu fl.c. 1808-1832	57. Shunsho 1726-1792
22. Kikumaro (Tsukimaro) fl. ?-1830	58. Toshihide 1863-1925
23. Kiyochika 1847-1915	59. Toshikata 1866-1908
24. Kiyokata 1878-1972	60. Toyofusa 1712-1788
25. Kiyomine 1787-1868	61. Toyoharu 1735-1814
26. Kiyomitsu 1735-1785	62. Toyokuni 1769-1825
27. Kiyonaga 1752-1815	63. Toyokuni II 1777-1835
28. Kiyonobu II 1706-1763	64. Tsukimaro fl. ?-1830
29. Kogyo 1869-1927	65. Utamaro 1754-1806
30. Koryusai fl.c. 1764-1788	65A. Utamaro 1802-1806
31. Kotondo 1900-1976	66. Yoshitaki 1841-1899
32. Kuniaki fl. 1850-1860	67. Yoshitora fl.c. 1850-1880
33. Kunichika 1835-1900	68. Yoshitoshi 1839-1892
34. Kunimaru 1794-1829	69. Yoshitsuya 1822-1866
35. Kunimasa 1773-1810	70. Yumeji 1884-1934

 

Return to Top

How to Identify Publishers’ Marks

            Each woodblock print was actually the work of three different craftsmen: the artist, the woodblock engraver, and the printer. Rarely, did the engraver’s or printer’s name appear on a print. The publisher coordinated the activities of all three. This chart is designed to help you identify the most important publisher trademark seals. These seals vary greatly in size and shape, and are usually found in the margins of the print or near the artist’s name.

 

1. Katoya	28. Kawachiya Chozo	55. Ibaya Sensaburo
2. Ezakiya Kichibei	29. Eirakuya Bunsuke	56. Gusokuya Kahei
3. Mikawaya Kihei	30. Izumiya Ichibei	57. Daikokuya
4. Maruya Kuzaemon	31. Kikuya Kozaburo	58. Wakabayashiya Kiyobei
5. Mikawaya Rihei	32. Emiya Kichiemon	59. Okuroya kinnosuke
6. Sugiya Kihei	33. Izumiya Ichibei	60. Hiranoya Heisuke
7. Tsuruya Kiemon	34. Iwatoya Genpachi	61. Ogawa Heisuke
8. Tsuruya Kiemon	35. Ebiya Rinnosuke	62. Sumiyoshiya Masagoro
9. Truruya Kiemon	36. Kikuya Ichibei	63. Wakasaya Yoichi
10. Tsuruya Kinsuke	37. Soneya Ginjiro	64. Moritaya Hanzo
11. Tsutaya Juzaburo	38. Kazusaya	65. Joshuya Shigezo
12. Tsutaya Juzaburo	39. Ezakiya tatsuzo	66. Yamaguchiya Tobei
13. Maruya Kiyojiro	40. Nishimuraya Yahachi	67. Kawaguchiya Uhei
14. Yamadaya Shojiro	41. Urokogataya Magobei	68. Kaguya Hanjiro
15. Fujiokaya Hikotaro	42. Tsujiokaya Bunsuke	69. Aito
16. Echigoya Heisuke	43. Nishimuraya Yohachi	70. Enshuya Yasubei
17. Iseya Sanjiro	44. Moriya Jihei	71. Owariya Kiyoshichi
18. Nishimuraya Yohachi	45. Iseya Magobei	72. Tamaya Sosuke
19. Iwatoya Kisaburo	46. Sanoya Kihei	73. Mokuya Sojiro
20. Takatsuya Isuke	47. Yamamotoya Heikichi	74. Tsujiya Yasubei
21. Ningyoya Takichi	48. Shimizuya	75. Uwoya Eikichi
22. Kagaya Yasubei	49. Maruya Jinpachi	76. Sagamiya
23. Enshuya Hikobei	50. Takeuchi Magohachi	77. Hirookaya Kosuke
24. Soshuya Yohei	51. Etsuka	78. Tenki
25. Enshuya Matabei	52. Itoya Yohei	79. Minatoya Kohei
26. Kagaya Yoshibei	53. Iseya Tetsujiro	80. Morimoto Junzaburo
27. Murataya Jirobei	54. Iseya Chubei

 

Return to Top

How to Identify Censors’ and Date Seals

            Censors’ seals provide important clues in the dating of Japanese prints. Used from 1790 on, their purpose was to insure government inspection of all printed material. Before publishers could proceed with the engraving and print of any print, they had to present the censor with a sketch of it. Only when the censor approved its subject matter could the print be published. Censorship seals are not found on prints prior to 1790, private printings, or shunga (erotic prints).

 

1. Kiwame seal 1791-1804	16. Murata Heiemon
2. Kiwame seal 1805-1810	17. Takano Shinemon
3. Kiwame seal 1811-1814	18. Yoshimura Gentaro
4. Kiwame seal 1815-1842	19. Kinugasa Fusajiro
5. Aratame seal	20. 1852 Rat
6. Fukatsu Ihei	21. 1853 Ox
7. Takeguchi Shoemon	22. 1854 Tiger
8. Mera Taichiro	23. 1855 Hare
9. Muramatsu Genroku	24. 1856 Dragon
10. Watanabe Jiemon	25. 1857 Snake
11. Watanabe Shozaemon	26. 1858 Horse
12. Tanaka Heijiro	27. 1859. Sheep
13. Hama Yohei	28. 1860 Monkey
14. Magomi Kandayu	29. 1861 Cock
15. Fukushima Giemon	30. 1862 Dog
	31. 1863 Boar

 

During these periods, several censor seals, or censors seal as well as date seals, were necessary:

1843-1847:      Only one seal of censor’s name

1847-1852:      Two seals of censor’s name

1852-1853:      Two seals of censor’s name and year/month seal

1853-1857:      Aratame and year/month seal

1858                Only year/month seal

1859-1871:      Aratame and year/month in one

Return to Top

Sizes & Types of Japanese Prints

Aiban:              Size of a print (approx. 31 x 22 cm) between chuban (medium) and oban (large)

Chuban:          Medium sized print (approx. 25 x 17 cm)

Chutanzakuban: Medium-sized tanzaku

1. Consult an expert or a dealer. Perhaps even more important than knowledge or expertise in the field is reputation. By building a relationship and rapport with a reliable dealer, you will benefit from their expertise and learn about the field.
2. Educate yourself. While an established and knowledgeable dealer or curator is vital, there is no substitute for learning about the art yourself. One of the best ways to learn about prints is through exposure to them and training your eye. The following collections are among the best in the world: Metropolitan Museum of Art; Japan’s Wood-Block Print Museum (Nihon Ukiyo-e Hakubutsukan); Museum of Fine Arts, Boston; Tsubouchi Memorial Theatre Museum, Waseda University; Tokyo Metropolitan Library; Los Angeles County Museum of Art.
3. Buy what you love. The value of certain artists, subjects, and periods are susceptible to change. What is popular one generation may fall out of favor the next. Your eye and your taste is what is most important in your collection; your taste never goes out of style.

Return to Top

CARING FOR PRINTS AND WORKS OF ART ON PAPER

1.  Works of art on paper should only be matted and backed with 100% acid free archival board or museum board.  Works of art on paper should always be behind or within a mat, never directly against the glass.  This will enable air to circulate and will help prevent moisture damage or mold

2. Never use pressure sensitive tape or glue to mound a print.  Special 100% acid free archival tapes and adhesives are available to hinge art to the mats.

3.  Do not expose works of art on paper to direct sunlight as the colors will fade.  Use a UF plexiglass which is specially made to filter out ultraviolet light.  UF plexiglass is unbreakable.  Do not clean UF plexiglass with ammonia based cleaners.  A soft rag is all that is necessary.  Plexiglass does have a static charge and is therefore not recommended for pastels and charcoal drawings.

4. Do not use “non-glare” glass because its use requires that the print be placed directly against the glass which can cause the growth or mold and does not filter out ultraviolet light.

5.  Never allow a framer to cut or trim the art to fit in a frame or mat.

6. Never glue the print to the backing or mat.

7.  Never assume that your framer will mount your prints according to these standards.  Always specify that the mats and tapes are archival and that UF plexiglass is being used.

8.  If unframed, works of art on paper should be matted or kept in acid free archival folders so that they will not be handled directly and will remain protected.

The Ronin Gallery is happy to suggest framing options to enhance the beauty of your art.  All of our frames are Japanese designed and made with out nails with either rounded or square corners.  They are custom made for each individual work of art.  They are available in a variety of finishes including walnut, cherry, mahogany. black lacquer, gold and silver.  To ensure the optimal preservation of your art we use only archival materials and UF plexiglass.

 

Evaluating Art

1. Artists. Certain artists command higher prices than others.
2. Subject. Some designs and motifs are more masterful and desirable than others. Furthermore, some subjects elicit more emotion in their viewers.   
3. Condition. How prints have physically fared over their history affects their value. 
4. Impression/Edition. The edition/impression of the print and the clarity of the strike impact value.
5. Market. Value varies according to contemporary taste and demand. 

Return to Top

Glossary

A

Asanoha:         Hemp leaf

Awase:             Game, contest

Ayame:            Siberian Iris

B

Beni-e:             Prints hand-colored with pink-pigment (beni)

Beni-girai:       Delicate pink; in these prints, purple is used with yellow and grey.

Benizuri-e:       Predominantly prink and green prints; produced form 1740’s t 1760’s

Bijin-ga:          Pictures of beautiful women (Bijin)

Binzashi:         Hair pins

Biwa:               Musical instrument; a kind of mandolin with four strings

Bizen:              The name given to hard, earthen-glaze pottery produced in the Bizen region. Representing a thousand-year-old tradition, it is the oldest and most characteristic pottery of Japan. The subtle beauty of its form and texture embodies the essence of the Japanese aesthetic- simplicity, elegance, and harmony. All the pieced here are stamped by the kiln, and each of the handmade boxes is signed by the potter.

C

Cloisonne:       Originated in central Asia and came to Japan with Buddhism. The technique of making cloisonné involves wrapping wire on a copper or silver foundation; afterwards, colored enamel or powdered glass is painted into the design. It is finally baked several times before the surface is polished and smoothed to the desired gloss.

Chonin:           Literally “citizen”. Refers to the new town class, the middle class, composed primarily of merchants and artisans. It denotes the urban middle class that developed during the Tokugawa or Edo period (1603-1868).

D

Daimyo:          Feudal lord

E

Ebusshi:          Painters of religious paintings

Egoyomi:         Calendar prints

Ehon:               A book of illustrations

Enoki:              Nettle plant of the Chinese variety

Eshi:                Painter

F

Furisode:         Jacket with extremely long sleeves

Futon:              Padded quilt

G

Geta:               Wooden clogs raised by two small bars also made of wood; these are parallel, with about eight to ten centimeters between them, and are placed across the clog, in the middle

Go:                  Pseudonym or assumed stage-name

Gofun:             White pigment made of chalk or pulverized shells which is splashed onto a print

H

Hagi:               Meadow with Japanese clover

Hanamichi:     A passageway within the stage

Hanga-ehon:   Books (hon) that are illustrated (e) by paintings (ga) that are xylographic (han)

Hanmoto:        Publisher

Harimaze-e:    Paintings obtained by fragments of pasted paper (collage)

Harugoma:     Dance of the Kabuki theatre, performed by holding the head of a toy horse in one’s hand

Hashiraeban:  Print with the pillar format; size (ban) of a painting (e) which is narrow and long, like a pillar (hashira)

Hikite-Jaya:     House of the “initiation of eroticism”

Hon:                Book

Higa:                Erotic picture

Hoso-ban

Sanpuku-tsui:  Narrow triptych

Hosho:            Paper on which ukiyo-e was printed; handmade from bark of the mulberry tree.

I

Ichimai­­-e:        Illustrated prints on single sheets of paper

Imari:              Ko Imari takes it name from the port from which it was first exported. Imari porcelain dates back to the 17^th century. The porcelain’s signature is its highly complex ornamentation, brilliancy of colors, and decorative flair.

Ise Monogatari: The Tales of Ise, Japanese literary work attributed to Ariwano-Narihira

Ishizurie-e:      Paintings executed on silk     

J

Jidaimon:        A king of theatrical performance based on historical subjects

Joruri:             Japanese dramatic ballad 

K

Kabuki:           Japan’s popular theatre

Kacho-ga:       Pictures of flowers and birds

Kakemono:      Literally “hanging (kake) object (mono)”. Rectangular painting which is hung vertically on the wall.

Kamuro:          Apprentice courtesan

Kanjo-bugyo:  Minster of the Treasury

Kannon:          Goddess of mercy (of Mahayanic Buddhism)

Kawaramono: Beggar

Karazuri-e:     Print obtained by means of embossing

Kento:              Technique of blind printing, invented in the eighteenth century

Ki:                      Art, talent

Kiboyoshi:       Popular novels

Kimekomi:       Method employed to create a three-dimensional effect

Kimono:          Literally “to dress (ki) an object (mono)”. An open garment similar to a dressing gown

Kirazuri:           Mica printing technique, which consists in applying mica powder to the paper to obtain a silvery background effect.

Kirar-e:           Prints with a mica background

Kizuri-e:          Prints with a yellow background

Kotatsu:           Foot warmer

Koto:               Musical instrument with strings, which as the harp or lyre

Kutani:            Decorative porcelain produced in the mountain village of Kutani in the Kaga province. It is characterized by bright colors and its rich use of gold.

Kyoka:             Humorous verse

M

Manzai:           Strolling comic dancer

Mikaeri bijin:  Beautiful woman looking back

Moji:                Rough fabric of twisted hemp yarn

Mon:                Crest or badge.

Monogatari:    Novel

Musa-e:           Pictures of warriors (musha)

Musha-e:         Paintings of historically important warriors

N

Nagasaki-e:     Illustrations from Nagasaki, with foreigners as their subject

Nanga:            Japanese school of art of the late 17^th century. Known for the artists’ flawless technique that imitates ancient Chinese masters, especially their sublime designs.

Nenbutsi Odori: Buddhist religious dance to invoke the protection of Amitabha

Netsuke:          Miniature carvings by artists with high technical virtuosity. They were once suspended from the obi as counter balances for small, compartmentalized cases known as inro. Sizes range from 1” to 3”.

Nezumi-

Tsubushi:        Engravings with a yellow and grey background

Nigao-e:          Likenesses

Nikawa:           Brilliant and viscous animal glue

Nishiki-e:         Full-color prints; produced after 1765; also known as “brocade” pictures

Noh:                Dramatic performance with a religious content

O

Obi:                 Kimono sash

Okubi-e:          Literally “large heads”. Bust portraits

Onna-e:           Pictures of women

Onnagata:       Kabuki actors who took the part of female nudes

Oshi-egata:     Relief painting

Otanzakuban: Large tanzaku

R

Rakan:             The followers of Buddha (500) who conquered Nirvana

Rendai:            Palanquin carrier on the shoulders

Ro:                   Transparent silk

Romaji:            Literally “Latin Roman letters”. The Latin alphabet used to translate Japanese words

S

Sake:               Typical Japanese drink made from fermented rice

Samisen:          Musical instrument; a kind of guitar with strings

Samurai:         Provincial military aristocracy, which characterizes the Japanese feudal system.

Sansui:            Literally “mountains and waters”. Landscape

Sansui-ga:       Landscape painting

Sembei:            Literally “rice-crusher”. Habit of bestowing a spare of professional name on an actor

Sensu:              Folding fan

Sewamono:      Type of performance based on daily life

Shaku:             Japanese measure of one foot (30.03 cm)

Shunga:           Literally translated as “Spring Pictures” but is commonly known as erotica

Shogun:           Military leaders who ruled the government of Japan between 1186 and 1886.

Shoji:               Screen

Shosagoto:      Danced performance 

Sumi:               Ink stick

Sumi-e:            Black and white prints

Sumo:              Japanese wrestling

Sun:                 Japanese thumb measure corresponding to roughly 3.04 cm

Surimono:       Deluxe prints privately commissioned by poetry clubs and wealthy connoisseurs for the purpose of commemorating special occasions such as the New Year. Expense was not a consideration, the finest hand made paper were used. Gold, silver, bronze, mica, and gauffraging were used to embellish these small marvels of woodblock printing.

Suzuri:             Hollowed out slab for ink

T

Tamigata-e:     Illustrations characteristic of the Osaka district

Tan-e:              Prints hand-colored with an orange, lead pigment (tan); popular from 1670’s to 1730’s.

Tanzaku:         Strip of paper on which verses were written

Tayu:               Very young and beautiful prostitute

Torii:               Entrance to a Shinto sanctuary

Tsuba:             Sword guards that were used to protect the hand during combat. The size and visibility of a tsuba made them convenient vehicles for the ingenuity of Japanese metal smiths.

Tsuzumi:         Hand drum

U

Uchiwa-e:        Fan (uchiwa) prints

Uki-e:              Prints employing European techniques of perspective

Ukiyo-e:          Pictures of the “floating world”

Urushi-e:         Lacquer prints; glue and metallic compounds were added to the pigment to give it a lacquer finish

Uta:                 Song, poem

Y

Ya:                   Shop

Yakusha-e:      Portrait of actors

Yokohama-e:   Illustrations from Yokohama, with foreigners as their subjects

Yamoto:           Japan’s ancient name. Originally it indicated the region which was the birthplace of Japanese culture.

Yujo:                Courtesans

Yukata:            Cotton bath robe

Return to Top
 

Japanese Photography

History of Japanese Photography

Introduction of photography to Japan started in Kyushu during the Edo period with Dutch merchants in Nagasaki Bay. Various local governmental officials ordered cameras from the merchants and slowly began to learn daguerreotype and wet-plate photography from them.  Many early Japanese photographers studied in Nagasaki. In 1854, Kawamoto Komin published Ensei-kikijutsu, the first book in Japanese about photographic techniques. Three years later, two photographers took the first successful photograph in Japan by a Japanese person, a portrait of a Satsuma clan lord, Shimazu Nariakira. Later, the wet collodion process replaced the daguerreotype. With the beginning of the Meiji period and the promotion of Western modernity, photography in Japan began to take off as a commercial industry.

The Meiji government eased travel restrictions on foreigners, and tourists began to flock to Japan. Photographs were popular souvenirs, but travelers were more interested in perceived ideas of traditional Japanese culture than the Japanese society that was transforming and modernizing. For many tourists, Japan was a way to escape modern industrial society, so they tried to control the vision of Japan. Depictions of Mount Fuji, cherry blossoms, temples, shrines, samurai, and geisha were the ideas of Japan they sought.

The largest market for these photographs was in Yokohama, so Japanese tourist photography became known as Yokohama shashin, or Yokohama-style photography. These images tended to be hand-colored and were very decorative. They were mounted in albums that contained anywhere from 25 to 100 prints. The subject matter can be divided into three categories: customs and types, women; and famous places and views. Tourists could also visit a studio and choose images that most closely matched their travel experience. In 1872, an album of fifty hand-colored photographs from Baron Raimund von Stillfried’s studio cost about $48. At the end of the 19^th century, picture postcards overtook Yokohama-shashin because they were cheaper.

First Photographers

Ueno HIkoma and Shimooka Renjo were two of the first professional Japanese photographers, both setting up businesses in 1862. Ueno Hikoma was considered the “master of portrait photography in mid-nineteenth-century Japan” and his studio prices were known to be very high.  Shimooka had a hard time mastering photography, and soon grew tired of