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In the field of ''bijinga'', only the works of [[Suzuki Harunobu]] and a handful of others are generally regarded comparable with those of Kiyonaga. Kiyonaga produced a great many ''bijinga'' prints in the 1780s, and this is generally regarded as his high point; this is particularly true because he nearly stopped doing art entirely in the early 1790s. Some scholars point out the beauty of his paintings as being particularly exceptional given his commoner heritage and upbringing. Adopted into the Torii family, Kiyonaga's biological father was the owner of a number of tenements near a fish market; though his family may not have been particularly poor, he was certainly not brought up in an environment of high culture. Meanwhile, contemporary artists of the samurai class, who would be expected to have a better innate sense of the aesthetics and details of aristocratic culture, produced images quite arguably inferior to those of Kiyonaga.
The women in Kiyonaga's prints are often described as seeming fuller and more mature than those of his predecessor Harunobu, whose prints often depict women who seem younger and thinner. Though a difference of personal styles accounts for this primarily, it also comes in part from Kiyonaga's use of larger sheets of paper (''
Just as Kiyonaga can be said to have replaced the earlier Harunobu as the most popular ''bijinga'' artist of his time, so Kiyonaga can be said to have been replaced by [[Utamaro]], whose women are even fuller and mature than those of the former.
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