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History & Development of Japanese Prints
Japanese printmaking originated in the Edo region of Japan (now Tokyo) during a time when Japanese political and military power was in the hands of the shoguns. Japan, during that period, was isolated from the rest of the world under the policy of Sakoku, which translates into “secluded or closed country.”
In 1853, an American commander named Perry came to Japan to negotiate with the Japanese government on behalf of the USA. At the time of Perry’s arrival, Ukiyo-e was a popular contemporary art form, and many prints were on sale on the streets of Edo.
Ukiyo-e subject matter included portraits of kabuki actors, theatre scenes, lovers, famed courtesans, and landscape scenes from Japan’s history and lore. It’s no surprise that Western visitors eagerly carried Ukiyo-e prints back to their homeland, thus exposing Japan’s exotic art to the rest of the world.
To create a Ukiyo-e art print, an image was carved in reverse onto woodblocks, covered in ink, and then pressed onto paper.
At first, all prints were produced in black and white. Artists Okomura Masanobu and Suzuki Harunobu were among the first to produce color woodblock prints by using one block for each color, a very complex process.
There had to be a key-block made for the outlines and one block for each color. In addition, the number of impressions that can be produced from one block is quite limited, so many blocks had to be made for a large run of prints.
Producing Japanese art prints involved many people aside from the artist, including designers, individuals who planned the mold, others who cut the mold, and those who pressed the molds onto the paper.
Ukiyo-e
Offshoots of Ukiyo-e Prints
The production of these particular Japanese art prints faded out around 1912, but two new schools of print-making emerged to take its place. They are called Sosaku Hanga and Shin Hanga.
The Sosaku Hanga school believes that the artist must be central to all phases of the printing process, while the Shin Hanga movement is more traditional and believes that the publisher is most central, hence the design, blocking, and printing can be given to different artists.
Collecting Ukiyo-e Art Prints
When collecting this exotic artwork, one must be familiar with a few Japanese terms.
Japanese art prints which are described as atozuri means that they were late printings, but were done with the original woodblocks. Prints that are shozuri are early printings, and a print said to be fukkoku is a reproduction.
Until the second half of the 20th century, the Japanese print-making process did not involve artists signing and numbering each print. Instead, the prints were marked with a stamp that identified the artist, the publisher, and the carver.
But after becoming exposed to the exotic culture of Japan, a craze for everything Japanese swept through Europe in the late 1860’s and Japanese art prints were being shipped to Europe in record numbers. Soon, the demand for woodblock prints could not be met with originals and Japanese publishing houses began producing copies of the more famous prints.
Some prints have stamps or markings in their margins, identifying them as copies; however, others are more difficult to discern. Usually the quality of the paper and the condition of the colors are the primary indicators in detecting a copy.
For the the average collector who is unable to read Japanese characters, it’s often best to consult an expert before purchasing an original Japanese art print.
Japanese printmaking originated in the Edo region of Japan (now Tokyo) during a time when Japanese political and military power was in the hands of the shoguns. Japan, during that period, was isolated from the rest of the world under the policy of Sakoku, which translates into “secluded or closed country.”
In 1853, an American commander named Perry came to Japan to negotiate with the Japanese government on behalf of the USA. At the time of Perry’s arrival, Ukiyo-e was a popular contemporary art form, and many prints were on sale on the streets of Edo.
Ukiyo-e subject matter included portraits of kabuki actors, theatre scenes, lovers, famed courtesans, and landscape scenes from Japan’s history and lore. It’s no surprise that Western visitors eagerly carried Ukiyo-e prints back to their homeland, thus exposing Japan’s exotic art to the rest of the world.
To create a Ukiyo-e art print, an image was carved in reverse onto woodblocks, covered in ink, and then pressed onto paper.
At first, all prints were produced in black and white. Artists Okomura Masanobu and Suzuki Harunobu were among the first to produce color woodblock prints by using one block for each color, a very complex process.
There had to be a key-block made for the outlines and one block for each color. In addition, the number of impressions that can be produced from one block is quite limited, so many blocks had to be made for a large run of prints.
Producing Japanese art prints involved many people aside from the artist, including designers, individuals who planned the mold, others who cut the mold, and those who pressed the molds onto the paper.
Ukiyo-e
Offshoots of Ukiyo-e Prints
The production of these particular Japanese art prints faded out around 1912, but two new schools of print-making emerged to take its place. They are called Sosaku Hanga and Shin Hanga.
The Sosaku Hanga school believes that the artist must be central to all phases of the printing process, while the Shin Hanga movement is more traditional and believes that the publisher is most central, hence the design, blocking, and printing can be given to different artists.
Collecting Ukiyo-e Art Prints
When collecting this exotic artwork, one must be familiar with a few Japanese terms.
Japanese art prints which are described as atozuri means that they were late printings, but were done with the original woodblocks. Prints that are shozuri are early printings, and a print said to be fukkoku is a reproduction.
Until the second half of the 20th century, the Japanese print-making process did not involve artists signing and numbering each print. Instead, the prints were marked with a stamp that identified the artist, the publisher, and the carver.
But after becoming exposed to the exotic culture of Japan, a craze for everything Japanese swept through Europe in the late 1860’s and Japanese art prints were being shipped to Europe in record numbers. Soon, the demand for woodblock prints could not be met with originals and Japanese publishing houses began producing copies of the more famous prints.
Some prints have stamps or markings in their margins, identifying them as copies; however, others are more difficult to discern. Usually the quality of the paper and the condition of the colors are the primary indicators in detecting a copy.
For the the average collector who is unable to read Japanese characters, it’s often best to consult an expert before purchasing an original Japanese art print.
Последний раз редактировалось: Irunya (Пт Дек 25, 2009 5:43 am), всего редактировалось 1 раз(а)
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в Вс Мар 20, 2011 2:26 am автор Irunya
text 90999. does automatically $10 to red cross
Япония,страна воcxодящего солнца, дай бог тебе сил в преодолении трудностей.
Последний раз редактировалось: Irunya (Пн Мар 21, 2011 1:40 am), всего редактировалось 1 раз(а)
Япония,страна воcxодящего солнца, дай бог тебе сил в преодолении трудностей.Последний раз редактировалось: Irunya (Пн Мар 21, 2011 1:40 am), всего редактировалось 1 раз(а)
в Вс Мар 20, 2011 2:30 am автор Irunya
https://american.redcross.org/site/Donation2?idb=0&5052.donation=form1&df_id=5052
Последний раз редактировалось: Irunya (Пн Мар 21, 2011 1:38 am), всего редактировалось 1 раз(а)
в Сб Мар 26, 2011 3:56 am автор Irunya
Japanese Woodblock Prints
by Christopher Caile
Many believe the myth that Europeans first became aware of this unique art form because woodblock prints were used as wrappings on items arriving in Europe from the Orient. In truth it was a French engraver who upon coming across a wooblock print recognized its importance, and showed it to friends. Later a shop was opened selling Japanese objects, including woodblock prints. They soon became much in demand because of their sweeping compositions, which were rich in color, designs and textures portrayed without shadow. They also caught the interest of many Impressionists. Monet, Degas, Van Gogh who were influenced by this genre of Japanese art. Prints by Henri Toulouse-Lautrec, for example, have a Japanese woodblock print quality, and Paul Gauguin's oil paintings of the South Seas use a stylized Japanese woodblock method, using flat areas of bold color without perspective. Today in the West, some woodblock prints, such as Fuji in Clear Weather and The Great Wave off Kanagawa by Hokusai and The Sudden Shower at Ohashi Bridge by Hiroshige are as recognizable as works by Picasso or Renoir.
Unfortunately, contact with the West also had a negative effect on the popularity of the woodblock art form. The Japanese developed an absorbing interest in all things western, especially science and technology. Photography captured the publics attention. Woodblock prints could not compete. Only a few artists struggled to keep their woodblock print art alive, and the art form never regained the popularity it once held.
Такая же участь постигла русскую икону.
by Christopher Caile
Many believe the myth that Europeans first became aware of this unique art form because woodblock prints were used as wrappings on items arriving in Europe from the Orient. In truth it was a French engraver who upon coming across a wooblock print recognized its importance, and showed it to friends. Later a shop was opened selling Japanese objects, including woodblock prints. They soon became much in demand because of their sweeping compositions, which were rich in color, designs and textures portrayed without shadow. They also caught the interest of many Impressionists. Monet, Degas, Van Gogh who were influenced by this genre of Japanese art. Prints by Henri Toulouse-Lautrec, for example, have a Japanese woodblock print quality, and Paul Gauguin's oil paintings of the South Seas use a stylized Japanese woodblock method, using flat areas of bold color without perspective. Today in the West, some woodblock prints, such as Fuji in Clear Weather and The Great Wave off Kanagawa by Hokusai and The Sudden Shower at Ohashi Bridge by Hiroshige are as recognizable as works by Picasso or Renoir.
Unfortunately, contact with the West also had a negative effect on the popularity of the woodblock art form. The Japanese developed an absorbing interest in all things western, especially science and technology. Photography captured the publics attention. Woodblock prints could not compete. Only a few artists struggled to keep their woodblock print art alive, and the art form never regained the popularity it once held.
Такая же участь постигла русскую икону.
в Вс Мар 27, 2011 3:13 am автор Irunya
Konishi Hirosada (1810-1864), Osaka, Japanwood block print, a diptych
в Вс Мар 27, 2011 3:15 am автор Irunya
в Чт Апр 14, 2011 6:13 am автор Irunya
The process of traditional woodblock printing begins with the artist drawing a draft on a semi-transparent paper with black ink. This draft is directly pasted on a cherry or pear wood plate reverse-side up, and then the lines of the drawing to be raised are carved by scraping off the surface of the block. This block will provide the general outlines for the print. Printer usually print out a dozen of these outline prints and deliver them to the artist, and from these prints, the artist decides the colour for each part of the print using a separate block for each colour. The colour plates are then made accordingly.
On these blocks, parts which require the same colour are raised in the same manner as the outline plate, or "Key Block". Each block has two guide marks called Kento which secure synchronizations of each impression. The impressions are achieved by scrubbing the back of a slightly moistened paper placed over a painted block with a round-shaped pad called Baren made from the outer sheaf of the bamboo. The printer would throw his weight onto this pad using a zig-zag or circular motion.
The number of impressions is broadly varied according to the style and success of the print. An edition of 200-300 was usual, as after this number the block would expand through absorbing water. Drying out then became necessary before more impressions could be taken. It is reckoned that a fine edition of 200-300 would take about up to 2 weeks to complete, but lowered standards such as less colours and less care could reduce this time drastically.
After the first printing, blocks would start to show signs of wear, particularly the finer lines such as those representing hair and features. Pigments used were mainly of vegetable and mineral origin colours. The harsher aniline dyes of the mid-19th century from Europe might come initially as a shock, but one soon learns to accept the particular merits. The paper chiefly used was a variety called Hosho. This was made from the fibres of the bark of the mulberry tree. Its soft texture allowed good penetration by the pigment and yet was strong enough to resist the rubbing of the Baren.
On these blocks, parts which require the same colour are raised in the same manner as the outline plate, or "Key Block". Each block has two guide marks called Kento which secure synchronizations of each impression. The impressions are achieved by scrubbing the back of a slightly moistened paper placed over a painted block with a round-shaped pad called Baren made from the outer sheaf of the bamboo. The printer would throw his weight onto this pad using a zig-zag or circular motion.
The number of impressions is broadly varied according to the style and success of the print. An edition of 200-300 was usual, as after this number the block would expand through absorbing water. Drying out then became necessary before more impressions could be taken. It is reckoned that a fine edition of 200-300 would take about up to 2 weeks to complete, but lowered standards such as less colours and less care could reduce this time drastically.
After the first printing, blocks would start to show signs of wear, particularly the finer lines such as those representing hair and features. Pigments used were mainly of vegetable and mineral origin colours. The harsher aniline dyes of the mid-19th century from Europe might come initially as a shock, but one soon learns to accept the particular merits. The paper chiefly used was a variety called Hosho. This was made from the fibres of the bark of the mulberry tree. Its soft texture allowed good penetration by the pigment and yet was strong enough to resist the rubbing of the Baren.
в Вт Апр 26, 2011 4:52 am автор Irunya
Famous painters
Sesshu (1420~1506)
The pictures he painted were appointed to the national treasures in Japan.
He was the vest popular ink painter in Japan.
The right picture is â Shuutou Sannsuigaâ. It was the national treasure. Everyone know that picture if you are Japanese. It was kept in Tokyo National Museum.
Toyo Sesshu, Two Mynah birds
Последний раз редактировалось: Irunya (Вт Апр 26, 2011 5:29 am), всего редактировалось 2 раз(а)
Sesshu (1420~1506)
The pictures he painted were appointed to the national treasures in Japan.
He was the vest popular ink painter in Japan.
The right picture is â Shuutou Sannsuigaâ. It was the national treasure. Everyone know that picture if you are Japanese. It was kept in Tokyo National Museum.
Toyo Sesshu, Two Mynah birds
Последний раз редактировалось: Irunya (Вт Апр 26, 2011 5:29 am), всего редактировалось 2 раз(а)
в Вт Апр 26, 2011 5:02 am автор Irunya
Famous painters
Josetsu(unidentified)
He was a precursor of ink paint in Muromachi period. He was respected as a master of ink painter from Sessu who would becom an ambassador of Japanese ink paint in later.
This picture "Hyonenzu" is most popular in his works. The poetry and the sentence that imaged this picture are kept in an inscription on the picture. This picture has hold Taizoin in Kyoto. It was a national treasure.
Josetsu was trusted very much by Yoshimochi Ashikaga who was shogun in Muromachi period, so he was often asked for work.
Josetsu(unidentified)
He was a precursor of ink paint in Muromachi period. He was respected as a master of ink painter from Sessu who would becom an ambassador of Japanese ink paint in later.
This picture "Hyonenzu" is most popular in his works. The poetry and the sentence that imaged this picture are kept in an inscription on the picture. This picture has hold Taizoin in Kyoto. It was a national treasure.
Josetsu was trusted very much by Yoshimochi Ashikaga who was shogun in Muromachi period, so he was often asked for work.
в Вт Апр 26, 2011 5:06 am автор Irunya
Shubun
He was active in ink painting in 1423~1462. He was a official painter of shogunate. He was also a priest in Shokokuji.
He joind the mission to Korea in 1423 and he paint Sansuiga there. Sansuiga is painted about scene and nature. The most popular paint in his works was "Suishokurankouzu". It was a national treasure and was hold in Nara National Museum. He influenced Sesshu.
Ink paintings became a truly Japanese form with the work of two monk-painters of the 1400's—Tensho Shubun and his pupil Sesshu. After traveling to Korea in 1423, Shubun introduced a more sweeping landscape style. He painted on screens and scrolls, using ink washes and fine black lines. Sesshu traveled to China in 1467, where he came into contact with classical Ming painting. On his return in 1469, he worked in a variety of styles and techniques, a diversity shared by many later Japanese painters. Sesshu created technically superb
and powerful compositions in both ink and color. After Sesshu, ink painting emerged as a nonreligious style no longer associated with the Buddhist community. The Kano school, founded by Kano Masanobu in the late 1400's, became one of the most powerful artistic groups in Japanese art for centuries. Kano Motonobu, his son, was the school's principal teacher. Kano school artists painted traditional Chinese themes in a style of balanced composition and sharply defined line. Beginning in the 1500's, Kano paintings included Japanese subjects depicted in color. Motonobu's grandson
Shubun
Tensho Shubun (1414 – 1463) was a Japanese painter in the Muromachi period and a Zen Buddhist monk, and - for some time - abbot at the Shokoku-ji temple in Kyoto.
He was the pupil of Josetsu and the master of Sesshu, and arguably Japan's first genuinely great landscape painter, in the early 15th Century. He was certainly seen as a huge influence and had many followers, but he was really a channel for very specific influences from China. He learned the specified brushstrokes very thoroughly, and passed the rules on to many generations of Japanese artist.
His work most closely resembles my favourite Chinese painter Xia Gui, from 200 years earlier. The painting here is a shigajiku - the full image is about three times as high, the rest taken up by calligraphy by six monks. The title gives away that it is from that most popular genre of the form, the scholar's retreat, a fantasy home in an idealised landscape. We have the stereotyped, standardised brushstrokes that he took from great Chinese Song dynasty landscape painters, but like Bonpo on the previous page, there is a sense that Shubun is more focussed on the negative space implied by the rocks than Xia Gui ever was.
A student of Josetsu, Shubun became one of the most influential painters of the suiboku style ink painting alongside with Sesshu, his pupil. Many landscape paintings in ink in varying quality and style are attributed to Shubun. Examples are in the Fujiwara collection and the Seikado Foundation. Famous is his realistic landscape painting Reading in a Bamboo Grove (1446, in the Tokyo National Museum).
He was chief painter to the shogun. In 1423 or 1424, he went on an official trip to Korea as part of the shogun's embassy.Shubun is credited in Japan, along with Seshu, as the greatest and most influential painter of the Muromachi period. The cultural roots in the Muromachi art lay in China's Southern Song dynasty, with Zen as a primary principle in art. Shubun is believed to have perfected the Japanese monochrome Zen painting.
Последний раз редактировалось: Irunya (Вт Апр 26, 2011 5:26 am), всего редактировалось 1 раз(а)
He was active in ink painting in 1423~1462. He was a official painter of shogunate. He was also a priest in Shokokuji.
He joind the mission to Korea in 1423 and he paint Sansuiga there. Sansuiga is painted about scene and nature. The most popular paint in his works was "Suishokurankouzu". It was a national treasure and was hold in Nara National Museum. He influenced Sesshu.
Ink paintings became a truly Japanese form with the work of two monk-painters of the 1400's—Tensho Shubun and his pupil Sesshu. After traveling to Korea in 1423, Shubun introduced a more sweeping landscape style. He painted on screens and scrolls, using ink washes and fine black lines. Sesshu traveled to China in 1467, where he came into contact with classical Ming painting. On his return in 1469, he worked in a variety of styles and techniques, a diversity shared by many later Japanese painters. Sesshu created technically superb
and powerful compositions in both ink and color. After Sesshu, ink painting emerged as a nonreligious style no longer associated with the Buddhist community. The Kano school, founded by Kano Masanobu in the late 1400's, became one of the most powerful artistic groups in Japanese art for centuries. Kano Motonobu, his son, was the school's principal teacher. Kano school artists painted traditional Chinese themes in a style of balanced composition and sharply defined line. Beginning in the 1500's, Kano paintings included Japanese subjects depicted in color. Motonobu's grandson
Shubun
Tensho Shubun (1414 – 1463) was a Japanese painter in the Muromachi period and a Zen Buddhist monk, and - for some time - abbot at the Shokoku-ji temple in Kyoto.
He was the pupil of Josetsu and the master of Sesshu, and arguably Japan's first genuinely great landscape painter, in the early 15th Century. He was certainly seen as a huge influence and had many followers, but he was really a channel for very specific influences from China. He learned the specified brushstrokes very thoroughly, and passed the rules on to many generations of Japanese artist.
His work most closely resembles my favourite Chinese painter Xia Gui, from 200 years earlier. The painting here is a shigajiku - the full image is about three times as high, the rest taken up by calligraphy by six monks. The title gives away that it is from that most popular genre of the form, the scholar's retreat, a fantasy home in an idealised landscape. We have the stereotyped, standardised brushstrokes that he took from great Chinese Song dynasty landscape painters, but like Bonpo on the previous page, there is a sense that Shubun is more focussed on the negative space implied by the rocks than Xia Gui ever was.
A student of Josetsu, Shubun became one of the most influential painters of the suiboku style ink painting alongside with Sesshu, his pupil. Many landscape paintings in ink in varying quality and style are attributed to Shubun. Examples are in the Fujiwara collection and the Seikado Foundation. Famous is his realistic landscape painting Reading in a Bamboo Grove (1446, in the Tokyo National Museum).
He was chief painter to the shogun. In 1423 or 1424, he went on an official trip to Korea as part of the shogun's embassy.Shubun is credited in Japan, along with Seshu, as the greatest and most influential painter of the Muromachi period. The cultural roots in the Muromachi art lay in China's Southern Song dynasty, with Zen as a primary principle in art. Shubun is believed to have perfected the Japanese monochrome Zen painting.
Последний раз редактировалось: Irunya (Вт Апр 26, 2011 5:26 am), всего редактировалось 1 раз(а)
в Вт Апр 26, 2011 5:09 am автор Irunya
Famous painters
Motonobu Kano(1476~1559)
He achieved a synthesis of kanga (ink painting in the Chinese style) with the lively colours of yamato-e (the Japanese style). Under him the Kano School established itself, artistically as well as socially, and became a virtual academy. His most famous works, originally in various sanctuaries and monasteries in Kyoto, now preserved in its National Museum, show the decorative treatment of nature, which became standard for the Kano School.
Motonobu Kano(1476~1559)
He achieved a synthesis of kanga (ink painting in the Chinese style) with the lively colours of yamato-e (the Japanese style). Under him the Kano School established itself, artistically as well as socially, and became a virtual academy. His most famous works, originally in various sanctuaries and monasteries in Kyoto, now preserved in its National Museum, show the decorative treatment of nature, which became standard for the Kano School.
в Вт Апр 26, 2011 5:11 am автор Irunya
Famous painters
Tohaku Hasegawa(1539~1610)
He was a Japanese painter and founder of the Hasegawa school of Japanese-style painting during the Azuchi-Momoyama period of Japanese history. He later shifted to decorative standing screen, sliding door, wall, and ceiling paintings, rivaling Kano Eitoku and competing for the favor and patronage of Oda Nobunaga and Toyotomi Hideyoshi. After Eitoku's death in 1590, Tohaku stood alone as the greatest living master of his time. Becoming an official painter for Hideyoshi, producing some of his greatest and most elegant paintings. This is "Shorinzu". It is hold in Tokyo National Museum. It is a national treasure.
Tohaku Hasegawa(1539~1610)
He was a Japanese painter and founder of the Hasegawa school of Japanese-style painting during the Azuchi-Momoyama period of Japanese history. He later shifted to decorative standing screen, sliding door, wall, and ceiling paintings, rivaling Kano Eitoku and competing for the favor and patronage of Oda Nobunaga and Toyotomi Hideyoshi. After Eitoku's death in 1590, Tohaku stood alone as the greatest living master of his time. Becoming an official painter for Hideyoshi, producing some of his greatest and most elegant paintings. This is "Shorinzu". It is hold in Tokyo National Museum. It is a national treasure.
в Пт Май 20, 2011 9:37 pm автор Irunya
A Japanese wood block print to honour the Russan Vice Admiral Makarov.
On the 13th. of April, the Russian Vice Admiral Stephen Ossipovich Makarov tried to break out, but unfortunately his flagship Petropavlovsk struck a Japanese laid mine, blowing up, killing him plus 634 of her crew.
On the other side of the world.
Across the world in St Petersburg, the defeat of the Russian Fleet caused consternation, and it was decided to reinforce the Tsarist Fleet stationed in the Far East. But this final destination lay some 18,000 miles away, more than halfway round the world. None the less, in July 1904 the Tsar despatched four battleships, the new Kniaz Suvarov, and her sister ships Orel, Vorodino, and Imperator Alex 111, now an immense fleet of 42 ships, all commanded by Vice Admiral Zinovy Petrovich Rozhestvensky was on its way, with 18,000 miles to go.
So jumpy were the Russian gunners, that in the North Sea passing a fleet of British trawlers they mistook them for Japanese destroyers, opened fire to sink one and damage others.
в Вс Июн 19, 2011 4:41 am автор Irunya
"Man Getting Tattoo" by Utagawa Kuniyoshi (1797-1861). Considered one of the greatest Japanese print artist. This Fine Art Print was carefully printed and limited to 100 prints, each print is hand numbered. The image is printed on mold-made, 100% cotton rag watercolor paper imported from France.. The image size is 7 3/8"w X 11 3/16"h. The paper size is 15" x 22".
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