Ukiyo-e genres

thumb|Two Lovers, Hokusai From The Adonis Plant (Fukujusō) Woodblock print, from a set of 12, ōban

thumb|Three Beauties of the Present Day by [[Utamaro, 1793]]

thumb|300px|An image of humans battling a Namazu

right|thumb|Suzuki Harunobu (about 1724–1770), "Parading Courtesan with Attendants", Late 1760, Nishiki-e (brocade print) V&A Museum no. E.1416–1898

thumb|A surimono print by Hokusai|Katsushika Hokusai thumb|Squid, Bream and Bonito. Surimono by Setsuri (nothing is known about Setsuri (雪里) other than that he designed this surimono for the Drum Group (whose seal is in the right upper corner) about 1820).

thumb|Yokugo no onna (Woman at Her Bath), by Hashiguchi Goyō (published Feb. 1916). One of the first shin-hanga published by [[Watanabe Shozaburo.]] thumb|Hikari umi (Glittering Sea), by Hiroshi Yoshida (1926) thumb|Zōjō-ji|Shiba Zōjōji, by [[Kawase Hasui (1925)]] thumb|Two Cockatoos on Plum Blossom Tree, by Ohara Koson (c. 1925–1935)

thumb|Taking the Evening Cool by Ryōgoku Bridge (1745), Okumura MasanobuThis early example of an uki-e print uses Western-style perspective for the interior, but more traditional Japanese technique for the exterior. thumb|Act Four (Shindamme) from the series Uki-e Chūshingura (c. 1820s), [[Utagawa KuninaoCollection the Cincinnati Art Museum]] refers to a genre of ukiyo-e pictures that employs western conventions of linear perspective. Although they never constituted more than a minor genre, pictures in perspective were drawn and printed by Japanese artists from their introduction in the late

right|thumb|250px|Sharaku; The Kabuki actors Bando Zenji (on the left, in the role of [[Benkei) and Sawamura Yodogoro II (on the right, as Yoshitsune), in the play Yoshitsune Senbon Zakura (Yoshitsune of the Thousand Cherry-Trees); 1794, fifth month.]] right|250px|thumb|Utagawa Toyokuni; The Kabuki actor Onoe Eisaburo I; c. 1800. Yakusha-e (役者絵), often referred to as "actor prints" in English, are Japanese woodblock prints or, rarely, paintings, of kabuki actors, particularly those done in the ukiyo-e style popular through the Edo period (1603–1867) and into the beginnings of the 20th century.

thumb|upright=1.3|Kajikazawa in Kai Province by [[Hokusai, 1831. From series Thirty-six Views of Mount Fuji.]] The term aizuri-e (Japanese: "blue printed picture") usually refers to Japanese woodblock prints that are printed entirely or predominantly in blue. When a second color is used, it is usually red. Even if only a single type of blue ink was used, variations in lightness and darkness (value) could be achieved by superimposing multiple printings of parts of the design or by the application of a gradation of ink to the wooden printing block (bokashi).

An is a Japanese portrait print or painting in the ukiyo-e genre showing only the head or the head and upper torso. Katsukawa Shunkō I (1743–1812) is generally credited with producing the first ōkubi-e. He, along with Katsukawa Shunshō, designed ōkubi-e of male kabuki actors. In the early-1790s, Utamaro designed the first ōkubi-e of beautiful women (bijin-ga ōkubi-e). The shogunate authorities banned ōkubi-e in 1800, but the ban was lifted after eight years.

are a type of "primitive" ukiyo-e style Japanese woodblock prints. They were usually printed in pink (beni) and green, occasionally with the addition of another color, either printed or added by hand.

thumb|Kanae Yamamoto (artist)|Kanae Yamamoto's "Fisherman" (1904) was an art movement of woodblock printing which was conceived in early 20th-century Japan. It stressed the artist as the sole creator motivated by a desire for self-expression, and advocated principles of art that is "self-drawn" (自画 jiga), "self-carved" (自刻 jikoku) and "self-printed" (自摺 jizuri), as opposed to the parallel shin-hanga ("new prints") movement that maintained the traditional ukiyo-e collaborative system where the artist, carver, printer, and publisher engaged in division of labor.

thumb|Nishimura Shigenobu, Shōki and Girl, c. 1720s. Woodblock print with hand-coloring and lacquer (urushi). [[Hosoban. 13 in. x 5 5/8 in.]] thumb|Okumura Toshinobu (active 1717–1750), 'Young Lovers by Mount Fuji', About 1720, urushi-e (lacquer print) V&A Museum no. E.1419-1898

are Japanese woodblock prints depicting non-East Asian foreigners and scenes in the port city of Yokohama.

are a genre of Japanese woodblock print, which appear on rigid, paddle-shaped hand fans known as . Ovoid images matching the outline of were printed on rectangular sheets of rice paper, then cut along the margins and pasted onto a skeletal bamboo frame. thumb|Late Edo period print of dancers

thumb|upright=0.7|Zhong Kui|Shōki zu (Shōki striding), by originator of this format, [[Okumura Masanobu ( )]] Hashira-e (柱絵) or Pillar prints are Japanese woodblock prints usually measuring about 13cm x 73cm (4.5 in. by 28 in.).

thumb|right|Cover and back of 2 bound-together volumes from the series

An aka-e ( "red picture") is a type of ukiyo-e that is printed entirely or predominantly in red. Aka-e were said to be talismans against smallpox, especially when they bore images of Shōki the demon queller. A woodblock print having a significant portion of the design entirely in red may also be considered to be an aka-e.

thumb|right|Shini-e of Kunisada by Kunichika, 1864 , also called "death pictures" or "death portraits", are Japanese woodblock prints, particularly those done in the ukiyo-e style popular through the Edo period (1603–1867) and into the beginnings of the 20th century.

thumb|Anonymous: Map of Nagasaki, 1821 (published by Bunkindô) Nagasaki-e () is a genre of ukiyo-e woodblock prints, produced in Nagasaki during the Edo period, that depict the port city of Nagasaki, the Dutch and Chinese who frequented it, and other foreign curiosities such as exotic fauna and Dutch and Chinese ships. They were mostly produced for merchants who traveled to Japan on business. Japanese people also bought such prints as they were curious about foreigners, with whom they couldn't meet themselves. Nagasaki-e print were also sold in Edo, Osaka, and provinces. Nagasaki was the only