ATL_006 TEEMAJA AMBROOSIA LOOD _ CURIOUS / THIRTY-TWO ASPECTS OF CUSTOMS AND MANNERS
Curious: Habits of a vihmajuss[b] of the Wegebau era
Curious: Habits of an okoshō[b] of the Tempō era
Curious: Habits of an okoshō[b] of the Tempō era
#AmbroosiaTeeLood #GentlemenFromEstonia #YoshitoshiTsukioka #PöialRaineriLooduskool #EestiLoodusePäev #KumariImedemaa #FlowerPower #InTheBottomOfMyGarden #Meestemoemuuseum #AMansGardenOfVerses #EroGuro #EndelLeppFashionHouse #MuzanE #TheHouseOfPlaybunny #NahaJaKarvadega #CatchAndKill #KumariImedemaa #TheGardenOfMensFashionDelights #AppallingSilence #TeedeniAiaSalaarhiiv #GentlemensFloralCabinet #MEEZ082026
https://en.wikipedia.org/wiki/Thirty-Two_Aspects_of_Customs_and_Manners Thirty-Two Aspects of Customs and Manners (Japanese: 風俗三十二相, Hepburn: Fūzoku Sanjūnisō), also known as Thirty-Two Aspects of Daily Life and Thirty-Two Aspects of Women,[2] is a series of ukiyo-e woodblock prints by Tsukioka Yoshitoshi that was published in 1888 (Meiji 21).[3]
The series consists of 32 large-format prints (33 including the title page) depicting beautiful women.[4] The series depicts various social classes from the late Edo period Kansei era through to the Meiji era, and is highly regarded as a masterpiece and representative work of Yoshitoshi's bijin-ga prints.[3] The series was published by Shimazendo Tsunashima Kamekichi of Nihonbashi Bakurochō.[4][5]
Yoshitoshi, along with kabuki actor Ichikawa Danjūrō IX, was an advocate for the preservation of Edo period traditions during the influence of Western culture in Japan during the Meiji period,[1] and this transition is visible in the series.[6] The last print of the series, Strolling: Habits of the wife of a nobleman of the Meiji era, is a rare example of Yoshitoshi choosing to depict Western influences in his work.[7]
The series consists of 32 large-format prints (33 including the title page) depicting beautiful women.[4] The series depicts various social classes from the late Edo period Kansei era through to the Meiji era, and is highly regarded as a masterpiece and representative work of Yoshitoshi's bijin-ga prints.[3] The series was published by Shimazendo Tsunashima Kamekichi of Nihonbashi Bakurochō.[4][5]
Yoshitoshi, along with kabuki actor Ichikawa Danjūrō IX, was an advocate for the preservation of Edo period traditions during the influence of Western culture in Japan during the Meiji period,[1] and this transition is visible in the series.[6] The last print of the series, Strolling: Habits of the wife of a nobleman of the Meiji era, is a rare example of Yoshitoshi choosing to depict Western influences in his work.[7]
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