His style was that of a pioneering ukiyo-e artist who, during the Meiwa and An’ei eras (1764–1781), introduced both lyrical quietude and urban sharpness into the world of ukiyo-e. The figures he depicted clearly departed from the plump, softly rounded facial types that were then in vogue, instead favoring mature, slender faces with elongated proportions, narrow chins, and subtly melancholic expressions—an aesthetic that became his defining hallmark.
This approach was not mere idealization. Rather, it created a distinctive atmosphere that seems to reveal the inner solitude and refined elegance of his subjects. Quiet yet imbued with a strong sense of individuality, his expression marked an important precursor to the sophisticated Edo aesthetic that would later culminate in the golden age of bijin-ga, exemplified by artists such as Kiyonaga.
This approach was not mere idealization. Rather, it created a distinctive atmosphere that seems to reveal the inner solitude and refined elegance of his subjects. Quiet yet imbued with a strong sense of individuality, his expression marked an important precursor to the sophisticated Edo aesthetic that would later culminate in the golden age of bijin-ga, exemplified by artists such as Kiyonaga.
