The History of Japanese Prints: from Ukiyo-e to Shin-hanga

Japanese prints reveal a fascinating story: a popular yet refined art form that traveled from Edo Japan to Europe, profoundly inspiring Western painters. Between tradition and modernity, their evolution reflects both cultural exchanges and shifting tastes.

Origins of Japanese Woodblock Printing

The art of woodblock printing, mokuhanga, arrived from China around the 8th century, initially serving Buddhist temples to reproduce sutras and religious images.
By the 17th century, however, it shifted from sacred to secular: Edo (modern Tokyo), with its bustling theaters, pleasure quarters, and merchants eager for visual culture, became the cradle of ukiyo-e — “pictures of the floating world.”

Very early on, kabuki actors became popular subjects of ukiyo-e prints, reflecting their fame and the public’s fascination with the theater.

Ichikawa Danjūrō V (one of the most famous and popular Japanese Kabuki actors of all time) in the popular kabuki play Shibaraku, by Utagawa Kunimasa, 1796 

• Technique highlight: Unlike Western engraving, mokuhanga relied on water-based pigments, allowing vibrant colors and delicate gradations. Each print was the result of collaboration between designer, carver, printer, and publisher. If you're interested by the process, you can read our article Printmaking explained by Kawase Hasui

Originally, Japanese woodblock prints were not intended to be hung on walls like paintings. They were designed as affordable, portable objects to be collected, read, and enjoyed privately, often in albums (ehon). Collectors would flip through them much like a book, appreciating the composition, color, and subject matter in an intimate setting.

Cover and back of 2 bound-together volumes from the gōkan e-hon series A Country Genji by an Imitation Murasaki (Nise Murasaki inaka Genji)

Later, as certain prints became more prized, they were sometimes displayed in a tokonoma, the alcove in a traditional Japanese room reserved for art objects, calligraphy, or seasonal decorations. The tokonoma provided a special, contemplative space where art could be viewed respectfully, highlighting the evolving status of prints from ephemeral entertainment to collectible art.

The Golden Age of Ukiyo-e (18th – 19th centuries)

During the 18th and 19th centuries, ukiyo-e reached its pinnacle of artistic and technical refinement, marking what is often called its “Golden Age.” Artists such as Katsushika Hokusai, Kitagawa Utamaro, and Utagawa Hiroshige pushed the boundaries of woodblock printing, creating images with sophisticated compositions, delicate lines, and rich color palettes. The prints encompassed a wide range of subjects, from beautiful women (bijin-ga) and actors (yakusha-e) to landscapes (famous in Hiroshige’s Fifty-three Stations of the Tōkaidō) and scenes of everyday life.

Falconer, Japan, Kansei period (1789–1801)
Japanese falconer holding a goshawk on her left hand. Her haori (short jacket) features a delicate eggplant pattern and the Fuji emblem.
Artist: Chōensai Eishin

Unlike earlier elite art forms, prints were highly accessible, affordable, and widely circulated among the urban population, particularly in Edo (modern Tokyo), Osaka, and Kyoto. This accessibility democratized art consumption: ordinary townspeople could own works that reflected contemporary culture, trends, and fashions. Prints were often collected, displayed temporarily in homes, or used as decorations for festivals, special occasions, or even simple aesthetic enjoyment.

The widespread circulation of these prints also created a shared visual culture in urban Japan, where images shaped popular imagination and influenced fashion, theater, and literature. At the same time, the woodblock technique allowed for mass production without sacrificing artistic quality, making ukiyo-e both a commercial and cultural phenomenon.

In essence, the Golden Age of ukiyo-e represents a period in which artistry, accessibility, and social engagement converged, turning woodblock prints into a vital part of Japanese visual and domestic culture.

Pioneers

• Hishikawa Moronobu (1618-1694): regarded as the founder of ukiyo-e.
• Suzuki Harunobu (1725-1770): introduced full-color printing (nishiki-e).

Masters of Portrait and Theater

• Kitagawa Utamaro (1753-1806): renowned for bijin-ga (pictures of beauties).
• Tōshūsai Sharaku (active 1794-1795): striking portraits of kabuki actors.

Masters of Landscape

• Katsushika Hokusai (1760-1849): creator of Thirty-six Views of Mount Fuji.
• Utagawa Hiroshige (1797-1858): poetic landscapes influencing Impressionists.

The Rediscovery of Ukiyo-e in the West

In the mid-19th century, Japan’s opening led to ukiyo-e prints flooding Europe, sometimes as mere wrapping paper. Western artists such as Monet, Van Gogh, and Toulouse-Lautrec admired their compositions and colors, sparking Japonisme, which deeply shaped modern art.

Vincent van Gogh, Almond Blossom, 1890

The 20th-Century Revival: Shin-hanga

In the early 20th century, publisher Watanabe Shōzaburō launched the shin-hanga (“new prints”) movement, renewing traditional woodblock printing for an international market.

Key Artists of Shin-hanga

• Kawase Hasui (1883-1957): master of atmospheric landscapes.
• Itō Shinsui (1898-1972): refined female portraits blending tradition and modernity.
• Hashiguchi Goyō (1880-1921): elegant depictions of women and interiors.

Rain at Yabakei by Hashiguchi Goyō, 1918, woodblock print, Dayton Art Institute

Conclusion

The history of Japanese prints shows the evolution from popular, ephemeral images (ukiyo-e) to collectible art (shin-hanga). From Utamaro’s beauties to Hokusai’s waves, Hiroshige’s landscapes to Hasui’s poetic visions, each era produced masterpieces that continue to inspire worldwide.