kamigata-e　上方絵

KEY WORD :　art history / paintings

*Ukiyo-e 浮世絵 prints from the Osaka-Kyoto area (kamigata 上方 denotes this geographical area). Also called oosaka-e 大阪絵 as opposed to *edo-e 江戸絵 , which refers to prints made in Edo (now Tokyo). The earliest kamigata-e were black and white illustrations for books of popular fiction. Most of the artists remain anonymous. The earliest known artist of note is Yoshida Hanbee 吉田半兵衛 (fl.1660-92), whose style resembles his Edo contemporary, Hishikawa Moronobu 菱川師宣 (ca.1618-94). Kyoto master, Nishikawa Sukenobu's 西川祐信 (1671-1751) influence on the course of ukiyo-e printmaking was substantial. He may have been the teacher of Suzuki Harunobu 鈴木春信 (1724-70). Kamigata printmakers are also known for popularizing the *kappazuri 合羽摺, or stencil technique of color printing. In 1746 Oooka Shunboku 大岡春卜 (1680-1763) designed the first known book using this technique. By the late 17c, Edo was rapidly becoming the center of ukiyo-e printmaking. Book publishing continued to be an important industry in kamigata, but Edo took the lead in the publication of single sheet prints *ichimai-e 一枚絵. Fewer publishers and the resulting lack of competition in kamigata-e resulted in fewer commissions for artists to produce print designs, and less experimentation with subject matter. Except for privately commissioned *surimono 摺物, kamigata-e single-sheet prints almost exclusively depict *kabuki 歌舞伎 actors. However, some of the print designs are quite bold, innovative, and may pre-date similar Edo conceptions. Indeed some prominent Edo print artists may have received training in Osaka or Kyoto, and a few, such as Katsushika Hokusai 葛飾北斎 (1760-1849) visited, often to utilize Osaka's superior printing facilities. Thus, kamigata and Edo artists appear to have mutually influenced each other. The first full-color single-sheet prints (also known as kamigata nishiki-e 上方錦絵 or naniwa nishiki-e 浪花錦絵) in Osaka were designed by Ryuukousai Jokei 流光齋如圭 (fl. 1772-1816), and published in 1792-3. Other influential masters are Ryuukousai's pupil, Shoukousai Hanbee 松好齋半兵衛 (fl. 1795-1809) and the latter's follower Shunkousai Hokushuu 春好斎北洲 (fl.ca.1808-32). Hokushuu is responsible for popularizing large, multisheet sets of full-length actor portraits, which became a hallmark of the Osaka school.

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