Art Archive · Ukiyo-e
How a Ukiyo-e Print Was Made
No ukiyo-e print was the work of one person. A publisher planned it. An artist drew it. A carver cut it into wood. A printer pressed it onto paper, one color at a time.
The drawing
The artist drew the design in ink on thin paper. The carver pasted that drawing face down on a block of cherry wood and cut through it, line by line. The drawing was destroyed. What remained was the key block, which printed the black outlines.
The colors
Each color needed its own block. The printer laid damp paper on the inked block and rubbed the back with a baren, a flat pad of bamboo leaf. Small notches cut into every block, called kento, held the paper in the same place each time, so the colors met the lines.
The four steps
- Publisher — planned the print and paid for it.
- Artist — drew the design in ink.
- Carver — cut the key block and the color blocks.
- Printer — printed each color by hand with a baren.
See it in the prints
Our galleries show prints by Hiroshige, Hokusai, Sharaku and Utamaro. Each one passed through these four pairs of hands.
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Bijin-ga
Utamaro Gallery (Guide)
Bijin-ga and ōkubi-e from the Kansei era — hairline, mica printing, and expression in work-by-work notes.
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Actor portraits
Sharaku Gallery (Guide)
Centered on the mica-ground ōkubi-e of 1794 — theater culture condensed into a single face.
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Meisho-e · Landscape
Hiroshige Gallery (Guide)
Fifty-three Stations of the Tōkaidō, One Hundred Famous Views of Edo, and other landscape series.
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Meisho-e · Landscape
Hokusai Gallery (Guide)
Thirty-six Views of Mount Fuji and compositional experiments across series — Fuji as the axis.
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We also re-edit some of these prints, following the same blocks. How we re-edit