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Bluesky · Hashtag

#日本画

67

posts · 30d

16

users

2

posts / day

4.2

posts / user

-36% vs last week

#日本画 is an active hashtag on Bluesky. In the last 30 days, 16 people shared 67 posts with it — around 2 a day. Activity is down 36% versus the previous week, peaking on Aug 25 with 6 posts.

#日本画 posts per day (last 30 days)

Related tags

Tags most often used together with #日本画.

#イラスト 34 #illustration 30 #japanesepainting 12 #art 12 #JapaneseArt 8 #アート 6 #kawaii 5 #手帳 5 #美術 5

Posts with #日本画

水島篤

@ats909222.bsky.social

over 2 years ago

#日本画 #恐竜 #ティラノサウルス

0 19 123

Michael

@mdstamper.bsky.social

over 1 year ago

蛍 (Firefly) by 上村松園 Uemura Shōen (Japanese) - Ink & color on silk / 1913 - Yamatane Museum of Art (Tokyo, Japan) #womeninart #womanartist #JapaneseArt #bijin-ga #美人画 #美人 #美女 #UemuraShoen #art #femaleartist #womenpaintingwomen #JapaneseArtist #山種美術館 #YamataneMuseumofArt #上村松園 #nihonga #womensart #日本画

A young Japanese woman dressed in a 浴衣 (yukata or robe worn after a bath), hangs up a mosquito net, all while a single firefly zips by -- an image that captures a single moment in time. There are other examples of a beauty shown with a mosquito net, such as Utamaro's more voluptuous forms, but here the painter has turned toward a more sophisticated image on the theme.

Lily patterns were not common on yukata bathrobes during the Tenmei era (1781–1789), and thus their use here might reflect a contemporary Art Nouveau touch in Shôen’s choice of motif. The narrow obi tied to the side is a style worn before retiring for the night, yet another example of the Shōen's careful and detailed observation.

Uemura Tsune was born on April 23, 1875. Uemura (上村) is her family name and Tsune was her given name. Shōen (松園) was an artistic name she adopted later. Her father died two months before she was born and her mother Nakako never remarried while running a tea leaf shop.

Shōen did not learn art from an artistic father nor did she have the advantage of an arts education at home. Instead she was self taught drawing while sitting in the corners of her mother’s shop. In a highly unusual move, enrolled the 12 year old in art school and then had her begin taking private lessons. At 15, in 1890, she entered a bijin-ga painting called "Beauties in the Four Seasons" into a national competition. Receiving a first commendation by the judges and having the work purchased by British prince Arthur launched Shōen's career.

By 1900, Shōen was not only doing well in national competitions, she was actually out placing her former teacher Suzuki Shonen. But, things got complicated in 1902 when Shōen, still single, gave birth to a son named Nobutaro. Fourteen years later, the father - her teacher Suzuki Shonen - finally acknowledged the child.

Shōen continued on her successful career while becoming a legendary art teacher in Japan and inspiration for women throughout the Japan and art world.

1 11 82

Paper Ninjas

@paperninjas.bsky.social

over 1 year ago

Hier eine Aufnahme in Originalgeschwindigkeit, wie ich das Gemälde »Sax Ninja« male. #acrylicpainting #contemporaryart #galleryart #japanart #japaneseart #japaneseartist #stickerart #streetart #studioart #ukiyoe #日本画

Video thumbnail

2 6 73

むうMuu

@muuart0625.bsky.social

over 2 years ago

#日本画 #薔薇 #花が好きな人と繋がりたい

1 10 70

森友紀恵　Mori Yukie

@mossamo.bsky.social

○展示のお知らせ○ 「GINZA ART FESTA」松屋銀座 8階イベントスクエア 5月20日(水) ー 6月1日(月) ※5月25日(水)は午後5時閉場、26日(火)は午後2時開場、最終日午後5時閉場よろしくお願い致します。 #日本画 #japanesepainting #art #艺术

0 5 67

一ノ景

@100kei.bsky.social

#日本画 #イラスト待ってましたよ〜！な大豊館長 2026.1月ブラックペーパー1／4色紙岩絵具

0 0 7

Michael

@mdstamper.bsky.social

over 1 year ago

ほほえみ (Smile) by 松村梅叟 / Baisō Matsumura (Japanese) - Color on silk / 1915 - Fukuda Art Museum (Kyoto, Japan) #WomenInArt #ArtText #art #美人画 #びじんが #BaisōMatsumura #Matsumura #松村梅叟 #JapaneseArt #JapaneseArtist #FukudaArtMuseum #福田美術館 #reading #womensart #PortraitofaWoman #軸装 #日本画 #HangingScroll #smile

Today, we chat on smartphones and send messages by social network services. In Japan of old, however, thoughts and feelings were communicated by letters and personal waka (和歌) verses or poetry. Japanese artist Baisō Matsumura (松村梅叟) depicts in dim light, the figure of a young woman standing by a Japanese lantern reading a strip of paper.

While she seems happy, she is also slightly flushed with embarrassment. Her beautiful dark blue with white and pink floral patterns kimono, bordered with a contrast color along the hem, has a green ground with painted paulownia leaves and flowers, and tie-dye indigo patterning. All are superbly represented. The auspicious character kotobuki (寿) is gorgeously woven with gold thread into the obi.

The artist has meticulously rendered each glittering weave in these symbols of good fortune. Noticing these details, along with the young beauty's charming smile, you can begin to appreciate the way that Matsumura, clearly the master of his paintbrush, has portrayed this young woman in love.

2 9 64

Michael

@mdstamper.bsky.social

“焔 (Flames)” by Uemura Shōen / 上村松園 (Japanese) - Color on silk / 1918 - Tokyo National Museum (Japan) #WomenInArt #WomensArt #WomanArtist #WomenArtists #ShoenUemura #上村松園 #Uemura #TokyoNationalMuseum #東京国立博物館 #Nihonga #日本画 #TaleOfGenji #JapaneseArt #art #artText #JapaneseArtist #WomenPaintingWomen

A single woman fills a vertical scroll, her body bent forward in a tight curve against a quiet, gray-beige ground. Her face is a pale, porcelain-toned complexion with heavy-lidded eyes cast downward, and a small mouth half-hidden by her own hair. One hand rises to her lips as she bites and tugs at a thick, disheveled lock like an anxious, self-soothing gesture that reads as pain. Her very long straight black hair pours over her shoulder like ink, contrasting with the light kimono that wraps her figure. Across the garment, delicate spiderweb lines spread and snag, while wisteria blossoms bloom in clusters of dense, tangled, and uneasy beauty. The robe’s patterns and the curve of her spine echo each other, making her torment feel physical, not abstract. A white ribbon loops above her head, and the collar opens to a dark, cool inner layer of greens and blues that feel like a shadow under the white cloth. Her sleeve hangs heavy, its edge lined with gold and muted color, while a small foot peeks from beneath the hem, grounding this supernatural story in a real body. All motion is contained in the sweep of hair and the tightening spiral of her stance. This is Lady Rokujō (六条御息所 / Rokujō no Miyasudokoro), a court woman from The Tale of Genji (源氏物語), imagined at the moment jealousy overwhelms her.

Kyoto-born artist Uemura Shōen (上村松園) was celebrated for bijinga within nihonga, so this subject is a departure. The museum calls Rokujō “driven mad with jealousy,” and Shōen makes it bodily with a spine that folds and hair that becomes a tether. “Flames” are emotion inside the body like envy and grief compressing into silence. Spiderwebs suggest entrapment and wisteria, refinement turned invasive. In The Tale of Genji, Rokujō’s jealousy is said to manifest as a living spirit that harms a rival and here she remains dignified even as she unravels. Painted in 1918, it is among Shōen’s most psychologically intense works asking us to witness complicated emotion without moralizing it.

1 15 62

Michael

@mdstamper.bsky.social

over 1 year ago

見返り美人 (Beauty Looking Back) by 甲斐庄楠音 Kainoshō Tadaoto (Japanese) - Hanging scroll; ink, color, and gilt on paper / c. 1928 - Art Gallery of New South Wales (Australia) #womeninart #art #japaneseart #美人画 #日本画 #掛軸 #ArtGalleryofNSW #beauty #japaneseartist #painting #artwork #fineart #japanesescroll

As Japan struggled to come to terms with the new worlds of mechanisation and industrialisation, forging closer ties with the countries of the West in the late nineteenth and early twentieth centuries, Japanese artists became embroiled in the processes of tumultuous change. Long established and powerfully entrenched traditions were both challenged and revitalised.

In painting two distinctive attitudes emerged. One, known as yōga, followed Western styles; the other, 'nihonga', extended the Japanese tradition. In the nationalistic Taishō (1912-26) and early Shōwa eras (1926-89) 'nihonga' was the dominant style. Kainoshō, from Kyoto, was a leading 'nihonga' artist.

In this beguiling figure he synthesises the Japanese aesthetic with qualities of modernity, particularly evidenced in the colours and graphic fluency. The drawing of the face and modelling of the features also betrays some Western influence. In a biography of Kainoshō, Isamu Kurita notes that the artist employed one particular model who, according to his sister, was 'the only woman whom my brother, who preferred men to women, wanted to marry'. The woman was Maruoka Tokuko, confirmed as the subject of this painting. Previously the mistress of a stockbroker, she subsequently married a doctor, while seemingly remaining Kainoshō's constant muse.

2 10 62

Michael

@mdstamper.bsky.social

about 1 year ago

浴後 (After Bathing) by 北野恒富 / Kitano Tsunetomi (Japanese) - Ink on Silk / 1912 - Kyoto City Kyocera Museum of Art (Japan) #WomenInArt #art #artText #KitanoTsunetomi #北野恒富 #Kitano #北野 #JapaneseArt #artwork #JapaneseArtist #美人画 #日本画 #新版画 #SilkArt #beauty #1910s #KyotoCityKyoceraMuseumofArt #京都市京セラ美術館

A young woman, recently bathed, sits gracefully on a wooden veranda. Her loose kimono, decorated with large circular patterns in soft blue and muted gold, drapes naturally, slipping off one shoulder to reveal pale skin. She faces forward, gaze turned slightly right, with a calm yet wistful expression and softly painted features. Her dark hair is styled in a traditional updo. Behind her, dense foliage of branches and leaves in subdued green and gray tones fills the background, creating a quiet, intimate atmosphere.

Kitano Tsunetomi (北野恒富) was a Japanese painter and printmaker of the shin-hanga (新版画) and nihonga (日本画)traditions, renowned for his bijinga—idealized (美人画) portraits of women that combined elegance with psychological subtlety. Born in Osaka, he trained in traditional Japanese painting before studying Western techniques, giving his works a distinctive balance of classical refinement and modern sensitivity.

By the 1910s and 1920s, when "After Bathing (Yokugo)" was created, he had established himself as a leading artist in Osaka’s vibrant art circles, contributing to the city’s role as a cultural counterweight to Tokyo. This period was marked by a wider shin-hanga movement that revitalized ukiyo-e aesthetics with modern subjects, and Kitano’s paintings of women reflected both timeless ideals of beauty and the changing roles of women in early 20th-century Japan.

"After Bathing" captures not only physical grace but also the sense of intimacy and contemplation that became hallmarks of his style. Unlike more commercialized bijinga, Kitano’s figures often appear thoughtful and self-contained, suggesting inner lives beyond their outward beauty.

Kitano left a profound legacy as a teacher, mentoring a generation of Kansai artists who continued to develop bijinga and nihonga traditions. His art remains celebrated for bridging Edo-period elegance with modern sensibilities, reminding us that beauty can embody both cultural continuity and subtle individual emotions.

0 8 61

森友紀恵　Mori Yukie

@mossamo.bsky.social

「不語仙」 2026、M12 #日本画 #japanesepainting #art #艺术

0 14 59

むうMuu

@muuart0625.bsky.social

over 1 year ago

#猫のいる暮らし #日本画もうすぐ春が来るよ

0 7 59

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