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Snow, Moon, and Flowers in the Pleasure Quarters (Seiro setsugekka) : Hanamurasaki of... n.d. Creator: Kitagawa Utamaro

Snow, Moon, and Flowers in the Pleasure Quarters (Seiro setsugekka) : Hanamurasaki of... n.d. Creator: Kitagawa Utamaro


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Snow, Moon, and Flowers in the Pleasure Quarters (Seiro setsugekka) : Hanamurasaki of... n.d. Creator: Kitagawa Utamaro

Snow, Moon, and Flowers in the Pleasure Quarters (Seiro setsugekka) : Hanamurasaki of the Tamaya with Attendants Shirabe and Teriha, Japan, n.d

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Media ID 36211367

© Heritage Art/Heritage Images

Attendant Boxes Courtesan Kitagawa Utamaro Pleasure Quarters Red Light District Utamaro Utamaro Kitagawa Yoshiwara Yoshiwara Japan


FEATURES IN THESE COLLECTIONS

> Arts > Artists > J > Japanese School Japanese School

> Arts > Artists > K > Utamaro Kitagawa

> Arts > Artists > U > Kitagawa Utamaro

> Europe > United Kingdom > Scotland > Strathclyde > Oban


EDITORS COMMENTS
Snow, Moon, and Flowers in the Pleasure Quarters: Hanamurasaki of the Tamaya with Attendants Shirabe and Teriha" is a captivating and intricately designed color woodblock print created by the renowned Japanese artist Kitagawa Utamaro during the nineteenth century. This masterpiece, a part of the "Snow, Moon, and Flowers" series, transports us to the Edo period's red light district, where the courtesan Hanamurasaki of the Tamaya residence is depicted in a tranquil moment with her two attendants, Shirabe and Teriha. The print showcases the exquisite attention to detail that characterized Utamaro's artistic style. The women are dressed in elegant kimonos adorned with intricate patterns and vibrant colors, contrasting the stark white of the snowy landscape. The courtesan, seated on a raised platform, holds a fan and gazes off into the distance, while her attendants, Shirabe and Teriha, sit at her feet, one holding a rose and the other reading a letter. The print's title, "Hanamurasaki," refers to the cherry blossom petals that fall like snow, symbolizing the transience of life. The print's composition is carefully balanced, with the women arranged in a harmonious and aesthetically pleasing manner. The use of negative space, calligraphy, and delicate brushwork adds to the overall beauty and elegance of the piece. The oban-size print, with its rich black color and detailed boxes and patterns, is a testament to the artistic skill and creativity of Kitagawa Utamaro and the Ukiyo-e artistic school. This stunning work of art is a valuable heritage piece that offers a glimpse into the fashion, culture, and lifestyle of Japan during the Tokugawa period. It is currently housed in the Art Institute of Chicago, where it continues to inspire and captivate audiences from around the world.

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