Women and Children
Bijin-ga prints were not merely intended as realistic representations of women but also served as objects of desire and fantasy for the viewers. They were highly sought after by collectors and were considered a form of visual entertainment during the Edo period.
Artists like Kitagawa UTAMARO, Suzuki HARUNOBU, and Torii KIYONAGA were renowned for their bijin-ga prints and played a significant role in popularizing the genre. Their works showcased a delicate and refined style, often characterized by intricate details, vibrant colors, and a focus on the beauty and allure of the female subjects.
Bijin-ga prints continue to be appreciated and admired for their aesthetic appeal and cultural significance. They provide insights into the fashion, ideals of beauty, and social dynamics of the Edo period in Japan.
Hahakigi
(2111)
Man lifting the dress of a woman
(K251-F164)
From the Rice Fields
(J450)
Courtesan with her Kamuro
(J712-KD209)
Utsukushi-sa to kanashimi tu (yugesho)
(K302)
Maiko
(1968)
Courtesan
(K080-F170)
Beauties of the Yoshiwara District
(K081-F028)
Bijin-ga
(K256-F033)
The courtesan Senju from the house of Izumiya
(J678)
Geisha Returning from Bath House
(K250-F047)
Bi-jin
(J775)
Maiko (3)
(K243-L002)
Maiko Kyoto (F)
(J449)
Beauty of the Enpo Period (1673-1681)
(K183-F151)
Two women on the beach, fishermen are in the background
(I565)
Portrait of a Courtesan and Kamuro
(J774)
Mother with children
(F360)
Two Children with Lanterns
(K289)
Beauty with Umbrella in the Moonlight
(K288)
Mine yudachi (Rain Shower at the Mountain Top)
(F316)
Girl and Butterflies
(G454)
Hane no Kamura
(681)
Yamanba (Woman from the Mountains) from the Play Komochi Yamamba
(1962)
Kagamiyama karasuba no dan, Hatsu-jo
(I456)
Fujisawa
(2093)
Narumi: Woman Doing Arimatsu Shibori Tie-dying
(F201)
Kaki no Asago (obstinate like a morning glory on a fence)
(1941)
Nr. 25 from The Fifty-four Chapters of the Genji monogatari
(G586)
Ôiso: Tora Gozen and Soga no Jûrô
(F127)