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Utagawa Hiroshige - Rooster perched on rose trellis
Xugu - Plum Blossoms, Crane, and Spring - 1943.505 - Art Institute of Chicago
Utagawa Hiroshige - Sparrows and wisteria
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Related
松に鷹図大津絵|Ōtsu-e of Falcon on a Pine Tree
Geisha and Peacock on Plum Tree, Yashima Gakutei
松に鷹図大津絵|Ōtsu-e of Falcon on a Pine Tree
Ōtsu-e of Falcon on a Pine Tree
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長澤蘆雪筆 梅雀図|Sparrows in a Plum Tree
長澤蘆雪筆 梅雀図|Sparrows in a Plum Tree
Kanō Naonobu - Crested Bird on Stump of Plum Tree
狩野松栄筆 梅にヒヨドリ図|Brown-Eared Bulbul (Hiyodori) on a Branch of Plum
Utagawa Hiroshige - Peacock Perched on a Maple Tree
Summary
Utagawa Hiroshige (Japanese, Tokyo (Edo) 1797–1858 Tokyo (Edo))
Edo period (1615–1868)
Woodblock printing in Japan is a best known for its use in the ukiyo-e artistic genre of single sheets. The Utagawa school (歌川派) was a group of Japanese woodblock print artists, founded by Toyoharu. His pupil, Toyokuni I, took over after Toyoharu's death and raised the group to become the most famous and powerful woodblock print school for the remainder of the 19th century. Hiroshige, Kunisada, Kuniyoshi, and Yoshitoshi were Utagawa students. The school became so successful and well known that today more than half of all surviving ukiyo-e prints are from it. Founder Toyoharu adopted Western-style deep perspective, an innovation in Japanese art. His immediate followers, Utagawa Toyohiro and Utagawa Toyokuni adopted bolder, more sensuous styles than Toyoharu and specialized in different genres — Toyohiro in landscapes and Toyokuni in kabuki actor prints. Later artists in the school specialized in other genres, such as warrior prints and mythic parodies. It was a Japanese custom for successful apprentices to take the names of their masters. In the main Utagawa school, there was a hierarchy of gō (art-names), from the most senior to junior. As each senior person died, the others would move up a step. The head of the school generally used the gō (and signed his prints) as Toyokuni. When Kunisada I proclaimed himself head of the school (c. 1842), he started signing as Toyokuni, and the next most senior member, Kochoro (a name also previously used by Kunisada I, but not as his chief gō), started signing as Kunisada (Kunisada II, in this case). The next most senior member after him, in turn, began signing as Kunimasa (Kunimasa IV, in this case), which had been Kochoro's gō before he became Kunisada II. (The original Kunimasa I had been a student of Toyokuni I.)
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