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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.
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в Вс Авг 29, 2010 3:02 am автор Irunya
Beginnings of ukiyo-e woodblock prints
While paintings was an art mostly enjoyed by the aristocracy, the ukiyo-e colour prints was a popular school that was dependent on the emergence of the wealthy bourgeoisie that loved the pleasures of the city and were avid for novelty. New art forms developed in response to their growing demand for leisure activities, such as the kabuki theatre. Literacy was also increasing in among people of this class, and formed a market for a large amount of popular, illustrated literature.(4) While the woodblock printing technique had been used from the 8th in Japan by Buddhist scholars for disseminating religious teaching and sacred images, there had been no other movement that demonstrated a need for this relatively simple technology for more than 800 years. However, with the growing demand for popular texts in Edo period, the woodblock printing technique came into use for the purpose of illustrating the publications of the day. This was the beginning of the ukiyo-e woodcuts.(5)
The early ukiyo-e artists, however, who first developed a distinct identity in the 17th century, expressed themselves solely through painting. The origins of the style are complex but are traceable to different artists who were active at the turn of the 16th century. What they shared was the unusual interest in the passing scene and in the fashion, and they were seeking a way of expressing their worldly outlook. The paintings were limited in number and made for relatively wealthy patrons and it was not until in the mid-17th century that book-illustrators adapted to the style, making it available to a wider audience. Indeed, the illustrated book was a success, but traditionally calligraphy had been considered a higher art form so the texts were more important than the illustrations in these books. But the pictorial effects made by Hishikawa Moronobu (1618-1694), the first major individual artist of ukiyo-e prints, so delighted the readers that the image dominated the text. In time, the printed image came to be viewed as a work of art in its own right and there was a demand by common people for pictures that could be displayed. This led to a production of separate broadsheets of larger size than a normal illustrated book. The broadsheets were initially in black outline only, but soon some colours were being applied by hand. The colour woodprint, however, on which the colours were applied on separate woodblocks, did not appear until about 1740, when the use of two colours, mostly light red and green, was introduced. It would take about another twenty years until more colours were applied on the prints.(6)
While paintings was an art mostly enjoyed by the aristocracy, the ukiyo-e colour prints was a popular school that was dependent on the emergence of the wealthy bourgeoisie that loved the pleasures of the city and were avid for novelty. New art forms developed in response to their growing demand for leisure activities, such as the kabuki theatre. Literacy was also increasing in among people of this class, and formed a market for a large amount of popular, illustrated literature.(4) While the woodblock printing technique had been used from the 8th in Japan by Buddhist scholars for disseminating religious teaching and sacred images, there had been no other movement that demonstrated a need for this relatively simple technology for more than 800 years. However, with the growing demand for popular texts in Edo period, the woodblock printing technique came into use for the purpose of illustrating the publications of the day. This was the beginning of the ukiyo-e woodcuts.(5)
The early ukiyo-e artists, however, who first developed a distinct identity in the 17th century, expressed themselves solely through painting. The origins of the style are complex but are traceable to different artists who were active at the turn of the 16th century. What they shared was the unusual interest in the passing scene and in the fashion, and they were seeking a way of expressing their worldly outlook. The paintings were limited in number and made for relatively wealthy patrons and it was not until in the mid-17th century that book-illustrators adapted to the style, making it available to a wider audience. Indeed, the illustrated book was a success, but traditionally calligraphy had been considered a higher art form so the texts were more important than the illustrations in these books. But the pictorial effects made by Hishikawa Moronobu (1618-1694), the first major individual artist of ukiyo-e prints, so delighted the readers that the image dominated the text. In time, the printed image came to be viewed as a work of art in its own right and there was a demand by common people for pictures that could be displayed. This led to a production of separate broadsheets of larger size than a normal illustrated book. The broadsheets were initially in black outline only, but soon some colours were being applied by hand. The colour woodprint, however, on which the colours were applied on separate woodblocks, did not appear until about 1740, when the use of two colours, mostly light red and green, was introduced. It would take about another twenty years until more colours were applied on the prints.(6)
в Вс Авг 29, 2010 3:03 am автор Irunya
Ukiyo-e depicting life in Yoshiwara quarter
In Edo, Yoshiwara quarter was a major pleasure centre where brothels, teahouses and all the Geishas, courtesans and musicians that went along with them, were thriving. The town-dwellers were always interested in the gay life of this particular area and there was a demand for pictures of famous beauties.(7) The publishers of woodblock printings saw an opportunity to profit from printings depicting these pre-modern stars. Thus, one important source for the ukiyo-e prints was the life in the Yoshiwara quarter.(8) Another development was the relationship between the ukiyo-e prints and kabuki theatre that was firmly established in the late 17th century. Kabuki theatres were common in the Yoshiwara quarter and a demand for portrayals of kabuki actors created a market for souvenirs. The ukiyo-e prints that targeted this mass-market depicted famous actors but prints were also used to make posters and playbills.(9) Actors and beautiful women were the main subject matters until the early 19th century but had their peak in the last quarter of the 18th century. At that time Katsukawa Shunsho (1726-1792) and his pupils dominated the genre.(10) Katsukawa found his own style of portraying actors. As opposed to the artists following the school of Torii Kiyonobu, who dominated much of the ukiyo-e print world during the first half of the 18th century and were making generalised prints where it was difficult to tell one actor from the other, Katsukawa’s prints of actors showed distinctive personalities that were easily recognisable to the viewer.(11)
In Edo, Yoshiwara quarter was a major pleasure centre where brothels, teahouses and all the Geishas, courtesans and musicians that went along with them, were thriving. The town-dwellers were always interested in the gay life of this particular area and there was a demand for pictures of famous beauties.(7) The publishers of woodblock printings saw an opportunity to profit from printings depicting these pre-modern stars. Thus, one important source for the ukiyo-e prints was the life in the Yoshiwara quarter.(8) Another development was the relationship between the ukiyo-e prints and kabuki theatre that was firmly established in the late 17th century. Kabuki theatres were common in the Yoshiwara quarter and a demand for portrayals of kabuki actors created a market for souvenirs. The ukiyo-e prints that targeted this mass-market depicted famous actors but prints were also used to make posters and playbills.(9) Actors and beautiful women were the main subject matters until the early 19th century but had their peak in the last quarter of the 18th century. At that time Katsukawa Shunsho (1726-1792) and his pupils dominated the genre.(10) Katsukawa found his own style of portraying actors. As opposed to the artists following the school of Torii Kiyonobu, who dominated much of the ukiyo-e print world during the first half of the 18th century and were making generalised prints where it was difficult to tell one actor from the other, Katsukawa’s prints of actors showed distinctive personalities that were easily recognisable to the viewer.(11)
в Вс Авг 29, 2010 3:04 am автор Irunya
The development of the colour print
The period 1765 until 1810 is considered to be the golden age of the colour print. The knowledge of how to make colour prints was known since earlier but so labour-intensive as to be uneconomical. However, in this period, a sophisticated elite in Edo who amused themselves by designing elaborate pages for calendars spurred the development of the colour prints. Calendar manufacture was a government monopoly, but privately commissioned works were common. The calendars were disguised within innocent-looking pictures to avoid censorship. In 1765, a group of people in this elite commissioned the artist Suzuki Harunobu (1725-1770) to replicate the originals in the woodcut medium. These, colour woodblock prints, called nishiki-e, meaning brocade pictures, were then sent to their friends as New Year’s greetings. Even though calendars of this kind were not widely distributed, they excited general audiences to the possibility of extending the product range to include colour woodblock prints. In time, publishers began to enter full-colour production.(12)
The period 1765 until 1810 is considered to be the golden age of the colour print. The knowledge of how to make colour prints was known since earlier but so labour-intensive as to be uneconomical. However, in this period, a sophisticated elite in Edo who amused themselves by designing elaborate pages for calendars spurred the development of the colour prints. Calendar manufacture was a government monopoly, but privately commissioned works were common. The calendars were disguised within innocent-looking pictures to avoid censorship. In 1765, a group of people in this elite commissioned the artist Suzuki Harunobu (1725-1770) to replicate the originals in the woodcut medium. These, colour woodblock prints, called nishiki-e, meaning brocade pictures, were then sent to their friends as New Year’s greetings. Even though calendars of this kind were not widely distributed, they excited general audiences to the possibility of extending the product range to include colour woodblock prints. In time, publishers began to enter full-colour production.(12)
в Вс Авг 29, 2010 3:05 am автор Irunya
Landscape prints
The Japanese had from earliest times developed devotion for nature and birds and flowers appeared quite early among the ukiyo-e prints. But landscape as an independent genre appeared rather late in the prints. These fukeiga, or landscape prints, were often produced in sets as a travelogue and became very popular both in Japan and abroad. Katsushika Hokusai (1760-1849), who had trained with Katsukawa Shunsho as a young man, was one of the main artists who developed this last achievement of the ukiyo-e art.(13) Some of his best early work had been in the production of surimono prints, one category of ukiyo-e prints. The surimono was a privately commissioned, small edition of prints of highest quality. They were published for occasions such as publications of poet groups and artist name change and were also sent as New Year’s greetings. On these printings popular legends and myths could be the motif as well as popular Sumo wrestlers.(14) However, Hokusai is perhaps most well known for one of his landscape series: “Thirty-six Views of Mount Fuji”. One of the pictures in the series – “Under he Wave at Kanagawa” – depicting a giant wave engulfing fishing boats, with Mount Fuji as a background detail, is a very well known piece of Japanese art.(15) The popularity of the landscape themes has been attributed to different factors. In part it could have been one result of government restrictions: At some instances, the government intervened in the printing industry for different reasons, as with the introduction of censorship of prints in the late 18th century because of some artist criticising the aristocracy in their pictures. The objective of these policies was also to impede the townspeople from spending their time and money on the frivolous entertainment that were promoted on the prints. Hence, this could be one of the reasons to new motifs being introduced, such as landscape, heroic and legendary subject matters.(16) Another reason to the demand for fukeiga has been ascribed to the restrictions on travel in that time – also imposed by the government. Pictures of views along the road that led between the imperial palace in Kyoto and the shogunate capital in Edo may have been appealing to those who could not see it themselves.(17)
Conclusion/Deterioration of ukiyo-e
The ukiyo-e prints of the last decades of the Edo period, which ended in 1868, when imperial power was restored and under the Meiji emperor, are not considered to be of the same high quality as earlier works. Society underwent significant changes as the Tokugawa government’s closed door policy came to an end and a part of the explanation of the decline could be increasing competition from modern technologies, such as photographs and newspaper illustration, that were introduced to the country.(18) Thus, it seems that the ukiyo-e prints disappeared in part because the society changed, and thereby the market for them, and in part because new techniques could replace many of their social functions. However, woodblock prints still fascinate and are today being collected around the globe.
Making of the woodblock prints
The process of making traditional colour woodblock prints normally included four kinds of craftsmen. There was the artist who drew the prints and, in case of polychrome prints, decided the colour scheme for each of them. There was the publisher who commissioned the work and the carver who cut the prints out of the wood – normally cherry or pear wood, as it is hard and fine-textured types of wood. Finally, there was the printer, who made the actual prints. Of these people, the publisher had the most dominant role and decided the subject matter of the print, oversaw the production of the wood blocks and also marketed the finished product.(19)
Designing
The artist first sketched an under-drawing that was of the same size as the finished print to be completed. After the government had introduced censorship, the under-drawing had to be submitted to the censor prior to being used for making the prints. When approval had been obtained, the artist had to transform the drawing into a form that could function as the basis for the woodcarving. This was commonly done by placing a sheet of thin, strong paper – usually a Japanese paper called minogami – on the under-drawing. The artist would then use black ink to trace the outlines of the sketch on the minogami. In addition to the image itself, it was necessary also to add guide marks to secure accurate register in the printing process.(20)
Making the key block
Next, the work passed on to the carver who would paste the minogami paper, face down, on a dried block of straight-grained cherry or pear wood. This led to reversing the image for the block. The paper was gently rubbed, removing most of the fibres and leaving the image clearly visible on the wood. The block would be carefully carved, leaving the outlines of the drawing in relief. Different instruments were used in accordance to the amount of details to be carved. The guide marks were being carved along with the design to ensure synchronisation of the different colours used in the polychrome printing. As a measurement of the necessary skill for carving, it can be mentioned that an apprenticeship of about ten years was required before a carver was considered to have mastered the craft. With this so-called key block ready, the work on colour separations could begin.(21)
Colour separations
A number of impressions – proofs – were printed from the key block, corresponding to the number of colours in the final print. First the ink was placed on the block. Then, a paper was placed on the block and, using a tool called baren, the printer would scrub the entire image, including the guide marks, and thereby making the impressions. The artist would be using one proof for each colour and marking on them the areas that were to carry that particular colour. The areas were not marked with the actual colour to be printed – rather with anything that was handy, just to indicate the area to be coloured. It was common for a vermilion pigment to be used to delineate each coloured area. Areas left blank on all proofs would appear as blank white in the finished print. The areas that were marked for colouring on more than one proof would appear as areas of overlaid colour on the finished print, thus making it possible to mix colours. The colour carvers would paste down the proofs on a piece of wood – again face down – and then carve them. The individual colour areas remained in relief as well as the guide marks.(22)
Printing
After the carving process was finished, the colour blocks and the key block were handed over to the printer who had prepared the sheets of printing paper by moistening them. The paper was made from the bark of the mulberry tree. The printing process would be carried out in the same order as the carving. Thus, it would be as follows: first, the key block was be placed on the printing stand and painted with black ink. Then, a sheet of printing paper was placed on upon the block in alignment with the guide marks. Finally, the printer used the baren to rub the paper, creating an impression of the block. After followed the same procedure for the colour blocks, resulting in the finished print. First printing the key block, followed by the colour blocks, made it possible to adjust each colour block to fit the colour between the outlines. The pigments were mostly of a transparent type, so there was no problem with opaque pigment covering the lines.(23) The size of the editions varied, but around 200-300 was usual. At larger amounts problems would arise because of the printing blocks absorbing water and thereby expanding. A fine edition of that size would have taken about two weeks to complete. However, use of fewer colours and less care could reduce the time required significantly.
The Japanese had from earliest times developed devotion for nature and birds and flowers appeared quite early among the ukiyo-e prints. But landscape as an independent genre appeared rather late in the prints. These fukeiga, or landscape prints, were often produced in sets as a travelogue and became very popular both in Japan and abroad. Katsushika Hokusai (1760-1849), who had trained with Katsukawa Shunsho as a young man, was one of the main artists who developed this last achievement of the ukiyo-e art.(13) Some of his best early work had been in the production of surimono prints, one category of ukiyo-e prints. The surimono was a privately commissioned, small edition of prints of highest quality. They were published for occasions such as publications of poet groups and artist name change and were also sent as New Year’s greetings. On these printings popular legends and myths could be the motif as well as popular Sumo wrestlers.(14) However, Hokusai is perhaps most well known for one of his landscape series: “Thirty-six Views of Mount Fuji”. One of the pictures in the series – “Under he Wave at Kanagawa” – depicting a giant wave engulfing fishing boats, with Mount Fuji as a background detail, is a very well known piece of Japanese art.(15) The popularity of the landscape themes has been attributed to different factors. In part it could have been one result of government restrictions: At some instances, the government intervened in the printing industry for different reasons, as with the introduction of censorship of prints in the late 18th century because of some artist criticising the aristocracy in their pictures. The objective of these policies was also to impede the townspeople from spending their time and money on the frivolous entertainment that were promoted on the prints. Hence, this could be one of the reasons to new motifs being introduced, such as landscape, heroic and legendary subject matters.(16) Another reason to the demand for fukeiga has been ascribed to the restrictions on travel in that time – also imposed by the government. Pictures of views along the road that led between the imperial palace in Kyoto and the shogunate capital in Edo may have been appealing to those who could not see it themselves.(17)
Conclusion/Deterioration of ukiyo-e
The ukiyo-e prints of the last decades of the Edo period, which ended in 1868, when imperial power was restored and under the Meiji emperor, are not considered to be of the same high quality as earlier works. Society underwent significant changes as the Tokugawa government’s closed door policy came to an end and a part of the explanation of the decline could be increasing competition from modern technologies, such as photographs and newspaper illustration, that were introduced to the country.(18) Thus, it seems that the ukiyo-e prints disappeared in part because the society changed, and thereby the market for them, and in part because new techniques could replace many of their social functions. However, woodblock prints still fascinate and are today being collected around the globe.
Making of the woodblock prints
The process of making traditional colour woodblock prints normally included four kinds of craftsmen. There was the artist who drew the prints and, in case of polychrome prints, decided the colour scheme for each of them. There was the publisher who commissioned the work and the carver who cut the prints out of the wood – normally cherry or pear wood, as it is hard and fine-textured types of wood. Finally, there was the printer, who made the actual prints. Of these people, the publisher had the most dominant role and decided the subject matter of the print, oversaw the production of the wood blocks and also marketed the finished product.(19)
Designing
The artist first sketched an under-drawing that was of the same size as the finished print to be completed. After the government had introduced censorship, the under-drawing had to be submitted to the censor prior to being used for making the prints. When approval had been obtained, the artist had to transform the drawing into a form that could function as the basis for the woodcarving. This was commonly done by placing a sheet of thin, strong paper – usually a Japanese paper called minogami – on the under-drawing. The artist would then use black ink to trace the outlines of the sketch on the minogami. In addition to the image itself, it was necessary also to add guide marks to secure accurate register in the printing process.(20)
Making the key block
Next, the work passed on to the carver who would paste the minogami paper, face down, on a dried block of straight-grained cherry or pear wood. This led to reversing the image for the block. The paper was gently rubbed, removing most of the fibres and leaving the image clearly visible on the wood. The block would be carefully carved, leaving the outlines of the drawing in relief. Different instruments were used in accordance to the amount of details to be carved. The guide marks were being carved along with the design to ensure synchronisation of the different colours used in the polychrome printing. As a measurement of the necessary skill for carving, it can be mentioned that an apprenticeship of about ten years was required before a carver was considered to have mastered the craft. With this so-called key block ready, the work on colour separations could begin.(21)
Colour separations
A number of impressions – proofs – were printed from the key block, corresponding to the number of colours in the final print. First the ink was placed on the block. Then, a paper was placed on the block and, using a tool called baren, the printer would scrub the entire image, including the guide marks, and thereby making the impressions. The artist would be using one proof for each colour and marking on them the areas that were to carry that particular colour. The areas were not marked with the actual colour to be printed – rather with anything that was handy, just to indicate the area to be coloured. It was common for a vermilion pigment to be used to delineate each coloured area. Areas left blank on all proofs would appear as blank white in the finished print. The areas that were marked for colouring on more than one proof would appear as areas of overlaid colour on the finished print, thus making it possible to mix colours. The colour carvers would paste down the proofs on a piece of wood – again face down – and then carve them. The individual colour areas remained in relief as well as the guide marks.(22)
Printing
After the carving process was finished, the colour blocks and the key block were handed over to the printer who had prepared the sheets of printing paper by moistening them. The paper was made from the bark of the mulberry tree. The printing process would be carried out in the same order as the carving. Thus, it would be as follows: first, the key block was be placed on the printing stand and painted with black ink. Then, a sheet of printing paper was placed on upon the block in alignment with the guide marks. Finally, the printer used the baren to rub the paper, creating an impression of the block. After followed the same procedure for the colour blocks, resulting in the finished print. First printing the key block, followed by the colour blocks, made it possible to adjust each colour block to fit the colour between the outlines. The pigments were mostly of a transparent type, so there was no problem with opaque pigment covering the lines.(23) The size of the editions varied, but around 200-300 was usual. At larger amounts problems would arise because of the printing blocks absorbing water and thereby expanding. A fine edition of that size would have taken about two weeks to complete. However, use of fewer colours and less care could reduce the time required significantly.
в Ср Сен 01, 2010 1:20 am автор Irunya
KAJITA, Hanko (1870-1917)
"A Nap" ("Utatane")1906
в Ср Сен 01, 2010 4:50 am автор Irunya
Koson (Shoson OHARA) (1877-1945)
"Monkey and Bee" Early 1900's
в Пт Сен 03, 2010 2:21 am автор Irunya
Title: "Snow at Ueno Kiyomizu Temple" ("Ueno Kiyomizu no Yuki")
Date: 1929 (later edition, ca 1980)
Series One of 16 images originally published by Kawaguchi & Sakai (1929-30)
Publisher: Shobisha
в Сб Сен 04, 2010 2:16 am автор Irunya
In 1844 at age 85, Hokusai visited Obuse and spent about six months working on the Ryu (Dragon) and Ho-o (Chinese Phoenix) paintings for the Higashi-machi Festival float.
в Пн Сен 06, 2010 6:25 am автор Irunya
Katsushika Hokusai (1760-1849) 葛飾北斎
1817 Bunka 14 58 October 5,
.. at a public event held at Nishikake-sho,Nagoya, Hokusai painted a Daruma.
1804 Bunka
Portrait of Daruma at Gokokuji temple in the Otowa District, Edo (dated April 13 ).
The Hokusai Museum
Katsushika Hokusai's depiction of ukiyo-e, the floating world, has a humble beginning as a plebeian skill during the Edo era (1603 - 1867). Over time, his works have achieved international acclaim, crossing boundaries of nationalities and periodic styles. It was here in Obuse, a town in Nagano Prefecture, that this man who is now known as a cultural giant produced masterpieces of his final years.
During his lifetime which began in 1760 in Honjo, Edo and ended in 1849 in Asakusa, Edo, Hokusai produced countless works of invaluable art. His exceptional talent first came to light in his late 30's with a series of bijin-ga (pictures of beautiful women) under pseudonyms of Sori and Hokusai Tokimasa.
In his 40's and 50's, Hokusai's sensational innovations were reflected in his illustrations for yomihon and pictures for edehon books. His masterpiece FUGAKU SANJUROKKEI Thirty-Six Views of Mt. Fuji is a work from his 70's which gave way to a new genre of landscape prints for the art of ukiyo-e.
In his later years, Hokusai began to ignore the support of publishing critics and focused his individuality through brush painting. And with the help of his friend Takai Kozan, a tycoon in Obuse, Hokusai successfully completed his most celebrated works, massive ceiling pieces.
Hokusai Museum was established in 1976 to maintain the condition of valuable brush paintings and ceiling works attached to two festival floats. The museum building which underwent expansion and renovation in 1991 now displays Hokusai's works featuring brush paintings and book illustrations.
http://www.book-navi.com/hokusai/guide-e.html
1817 Bunka 14 58 October 5,
.. at a public event held at Nishikake-sho,Nagoya, Hokusai painted a Daruma.
1804 Bunka
Portrait of Daruma at Gokokuji temple in the Otowa District, Edo (dated April 13 ).
The Hokusai Museum
Katsushika Hokusai's depiction of ukiyo-e, the floating world, has a humble beginning as a plebeian skill during the Edo era (1603 - 1867). Over time, his works have achieved international acclaim, crossing boundaries of nationalities and periodic styles. It was here in Obuse, a town in Nagano Prefecture, that this man who is now known as a cultural giant produced masterpieces of his final years.
During his lifetime which began in 1760 in Honjo, Edo and ended in 1849 in Asakusa, Edo, Hokusai produced countless works of invaluable art. His exceptional talent first came to light in his late 30's with a series of bijin-ga (pictures of beautiful women) under pseudonyms of Sori and Hokusai Tokimasa.
In his 40's and 50's, Hokusai's sensational innovations were reflected in his illustrations for yomihon and pictures for edehon books. His masterpiece FUGAKU SANJUROKKEI Thirty-Six Views of Mt. Fuji is a work from his 70's which gave way to a new genre of landscape prints for the art of ukiyo-e.
In his later years, Hokusai began to ignore the support of publishing critics and focused his individuality through brush painting. And with the help of his friend Takai Kozan, a tycoon in Obuse, Hokusai successfully completed his most celebrated works, massive ceiling pieces.
Hokusai Museum was established in 1976 to maintain the condition of valuable brush paintings and ceiling works attached to two festival floats. The museum building which underwent expansion and renovation in 1991 now displays Hokusai's works featuring brush paintings and book illustrations.
http://www.book-navi.com/hokusai/guide-e.html
в Пн Сен 06, 2010 6:27 am автор Irunya
Hokusai (1760-1849)
Hokusai, Japan's best known artist, is ironically Japan's least Japanese artist. Japan's best known woodblock painting, The Great Wave, is very un-Japanese. Welcome to the artist often known as Hokusai.
Hokusai (1760-1849) lived during the Tokugawa period (1600 to 1867). In a Japan of traditional Confucian values and feudal regimentation, Hokusai was a thoroughly Bohemian artist: cocky, quarrelsome, restless, aggressive, and sensational. He fought with his teachers and was often thrown out of art schools. As a stubborn artistic genius, he was single-mindedly obsessed with art. Hokusai left over 30,000 works, including silk paintings, woodblock prints, picture books, manga, travel illustrations, erotic illustrations, paintings, and sketches.
Some of his paintings were public spectacles which measured over 200 sq. meters (2,000 sq. feet.) He didn't care much for being sensible or social respect; he signed one of his last works as "The Art-Crazy Old Man". In his 89 years, Hokusai changed his name some thirty times (Hokusai wasn't his real name) and lived in at least ninety homes. We laugh and recognize him as an artist, but wait, that's because we see him as a Western artist, long before the West arrived in Japan.
"From the age of six I had a mania for drawing the shapes of things. When I was fifty I had published a universe of designs. but all I have done before the the age of seventy is not worth bothering with. At seventy five I'll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am eighty you will see real progress. At ninety I shall have cut my way deeply into the mystery of life itself.
At a hundred I shall be a marvelous artist. At a hundred and ten everything I create; a dot, a line, will jump to life as never before. To all of you who are going to live as long as I do, I promise to keep my word. I am writing this in my old age. I used to call myself Hokosai, but today I sign my self 'The Old Man Mad About Drawing." -- Hokusai
Hokusai started out as a art student of woodblocks and paintings. During the 600-year Shogun period, Japan had sealed itself off from the rest of the world. Contact with Western culture was forbidden. Nevertheless, Hokusai discovered and studied the European copper-plate engravings that were being smuggled into the country. Here he learned about shading, coloring, realism, and landscape perspective. He introduced all of these elements into woodblock and ukiyo-e art and thus revolutionized and invigorated Japanese art.
Read the rest with many interesting illustrations here:
http://www.andreas.com/hokusai.html
For more about Hokusai
With all the names and signatures of Hokusai
artelino.com
в Ср Сен 08, 2010 6:11 am автор Irunya
Artist: Kiyochika KOBAYASHI (1847-1915)
Title: "Flower Patterns (Cherry Blossoms)"
Date: 1896
в Чт Сен 09, 2010 5:12 am автор Irunya
Artist: OGATA Gekko (1859-1920)
Title: "Monkey Reaching for the Moon" (given name)
(aka "Gibbon")
Date: Early 1900's
в Чт Сен 09, 2010 5:15 am автор Irunya
Artist: KAWANO, Kaoru (1916-65)
Title: "Two Little Owls"(given name)
Date: Likely 1950's
в Чт Сен 09, 2010 5:17 am автор Irunya
Artist: KAWANO, Kaoru (1916-65)
Title: "Girl on Tan" (given name)
Date: Likely 1950's
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