A Guide to Ukiyo-e
Ukiyo-e was an expressive genre that featured entertainment scenes, women, and urban settings. Two contemporary artists, Ryoko Kimura and Lady Aiko, combine ukiyo-e and pop culture to create innovative works. This paper will employ a visual analysis of these two artist’s works to express how these artists preserve certain qualities of ukiyo-e while revealing their progressivist opinions.
Kimura’s 2016 work, Three Drunks, borrows the expressive quality evidently seen in the eighteenth-century ukiyo-e aesthetic. The man on the right is drinking beer and raising his glass in happiness. The man in the middle is unconscious from heavy alcohol use. The man on the left is engaged in three risky behaviors: He’s smoking, he’s holding a glass of wine, and his flushed face looks like he may lash out, an action that he will regret. A viewer’s eyes immediately go to the emotions displayed in each face. The figure on the left appears dominant. The elements appear integrated, as the men are reacting toward one another. Each man has a deliberate position: The man on the right conveys joy as he raises his glass into the air, the one in the middle is clueless, and the man on the left has red cheeks from anger. The colors in this work-blue, black, and brown-are neutral. The overall composition is highly finished, as there are no pencil or paint marks. The viewer seems to be invading into this personal, embarrassing moment. Rage is also apparent in Utagawa Kuniyoshi’s Kanegafuchi no Yurai, as two men are involved in a squabble. The questionable choices in this work introduce unethical questions, as drinking alcohol clearly impairs the mindset of these three men. Dishonorable portrayals of certain figures were arguably seen in the eighteenth-century ukiyo-e aesthetic too, as women were depicted as courtesans and they were perpetrated as sexual objects.
Lady Aiko’s street art additionally displays elements of ukiyo-e, as there is a myriad of colors and hints of sensuality. For instance, the work is a frenzied maze: The eyes seem to scan over certain parts and don’t focus on just one item. There is no unity and the elements are distinct. The butterfly, bunny, and women don’t complement each other, contributing to a sense of commotion. Bright colors are an important characteristic of this work, as there is pink in the middle and yellow on the side. There’s a component of ukiyo-e, as the representation of the woman on the right is seductive in nature: She is wearing a purple dress that reveals her shoulder and her bare legs.
Three Drunks further utilizes new arrangements to create a satirical illustration about a poor decision. For example, the style that each figure in the work was created is similar to manga. Each man has an animated feel, reminiscent of the manga found in Japanese graphic novels that both adults and children read. Each man looks like a cartoon, and this characteristic juxtaposes the traditional background of the Japanese scrolls. Kimura creates a distinct twist when she fuses pop culture and ukiyo-e. Therefore, this work replaces austerity with modernity. There’s also a similarity between Kimura’s work and eighteenth-century ukiyo-e work. Kuniyoshi’s Kanegafuchi no Yurai demonstrates a conflict, as two men are involved in a petty fight. The tense atmosphere is also apparent in Kimura’s work. The content is a testament to how both contemporary artists and eighteenth-century artists highlight poor, promiscuous decisions. Kimura’s work reflects how there are still people nowadays that make poor decisions. It’s a parody about intoxication, providing social context about an activity that might be unfortunately relatable to viewers. Kimura molds her work into a hilarious, real-life situation. This realistic and raw portrayal is almost hilarious to look at, as the three men’s poses are arguably entertaining. Eighteenth-century ukiyo-e paintings showed entertainment like the Kabuki, and, in a way, Kimura’s work is amusing to look at too.
Lady Aiko’s street art, while borrowing certain aspects of ukiyo-e, pioneers a whole new era of creative art. To begin, her street art is reminiscent of Banksy. The pop art feature is also similar to the works of Andy Warhol or Roy Lichtenstein. But what is compelling about Lady Aiko is that she is neither a Western artist nor a male. Thus, Lady Aiko is a champion for minority rights, as she gives representation to Asian art and spotlights creators from this region. While her work does portray women in a sensuous light like eighteenth-century artists did, it’s evident she takes a more feminist, progressive approach. Yes, the woman in the street art has exposed shoulders and legs, but there is no male figure that is admiring her curves. Lady Aiko suggests that this woman put on this purple dress because it makes her feel confident and that she only wants to please herself. Not only does Lady Aiko honor the woman body, she also reverses the eighteenth-century idea on the objectification of women. Women are now independent individuals, not sultry courtesans. Her work is a response to the eighteenth century’s arbitrary guidelines on how a woman should act, conveying her democratized viewpoint. Moreover, she uses rare materials: Spray paint is a new medium. The street art’s location is significant, as a busy city dweller may not notice it on a city block and the work may be overlooked. The work presents modern society, as the city is a backdrop for this art. There is a subtle link to the Tokugawa period, as Edo flourished as a city and Lady Aiko’s art is evidently in a city too. Lady Aiko draws inspiration from urban life while simultaneously creating art that incorporates reformist themes.
In summary, Ryoko Kimura’s and Lady Aiko’s works share a striking equivalence, as they both include the ukiyo-e characteristics of entertainment scenes and women. Yet Kimura initiates a new spin as she incorporates manga, and Lady Aiko’s work is a feminist commentary. These works praise ukiyo-e and accomplish the feat of portraying something new.
