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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 Чт Сен 09, 2010 5:17 am автор Irunya
Artist: KAWANO, Kaoru (1916-65)
Title: "Girl on Tan" (given name)
Date: Likely 1950's
в Чт Сен 09, 2010 5:19 am автор Irunya
Artist: KAWANO, Kaoru (1916-65)
Title: "Girl in Red Kimono" (given name)
Date: Likely 1950's
в Чт Сен 09, 2010 5:22 am автор Irunya
Artist: TSUCHIYA, Rakuzan (1886-19??)
Title: "Bush-tit on Peony" (given name)
Date: 1938 (Stamp to verso reads "Showa 13," or 1938)
в Пт Сен 10, 2010 5:18 am автор Irunya
Ukiyo-e, "pictures of the floating world", is a genre of Japanese woodblock prints (or woodcuts) and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre and pleasure quarters. It is the main artistic genre of woodblock printing in Japan.
в Пт Сен 10, 2010 5:29 am автор Irunya
Последний раз редактировалось: Irunya (Сб Сен 11, 2010 3:14 am), всего редактировалось 1 раз(а)
в Пт Сен 10, 2010 5:32 am автор Irunya
Ukiyo-e
People of the blogosphere, I've just returned from a day trip to Barcelona and I've been to see an exhibition about Ukiyo-e (pictures of the floating world), Japanese woodblock prints that depict their contemporary culture (17th to 19th-ish centuries). It was divided into different sections: theatre still-lives; sumo ones; female beauty; erotic and lanscape.
It has been so beautiful, inspiring and awe-provoking. Absolutely outstanding. We've also been lucky enough to catch a free guide around the show with the most expert young lady. She made us understand how connected the circumstances of the artists were with the political power regenting Japan at the times. (on a funny note, the very explicit erotic prints were forbidden -altought they still circulated- not because of what was shown but because of the couples depicted being from different social casts).
The delicacy and peculiar aesthetics (for an occidental art composition mind set) were totally bewildering.
It's made me confirm I might want to study Art History next.
в Сб Сен 11, 2010 11:14 pm автор Irunya
Kaoru Kawano Japanese Woodblock Print - Small Bird
в Вс Сен 12, 2010 2:07 am автор Irunya
Yoshitoshi's '28 Famous Murders with Verse' (1866 - 1867)
в Вс Сен 12, 2010 5:47 am автор Irunya
“The Soga Brothers in the Rain,” 1873 from the series Essays by Yoshitoshi
Ink and colors on paper, oban
Collection of Ed Freis
в Чт Сен 30, 2010 2:41 am автор Irunya
How Woodblock Prints are Made
The process of traditional woodblock printing is accomplished through the work of three different people: the artist who draws the prints and decides on the color scheme for each one, the publisher who commissions the work and the carver who cuts the prints out of either cherry or pear wood (or other similar woods).
The process starts with a black-ink block and follows through with successive color blocks, which ultimately produces a finished print.
The Ukiyo-e artists of the Edo period produced hanshita-e (underdrawing) in accordance with the plan of the publisher who commissioned the work. It was then submitted to the censor, who was either a representative of a wholesale dealer, or in later times, a government official. Once approval had been obtained, the carver prepared the blocks, and the printers produced the prints.
Hanshita-e
The artist first sketched an underdrawing that was exactly the same size as the finished print to be completed. Over this, the artist placed a thin sheet of strong minogami paper and traced the outlines of the sketch in black ink.
Carving the ink block
The hanshita-e was pasted face down on a dried block of straight-grained cherry wood, which was then carefully carved so that the lines of the drawing were left in relief. Complicated areas were carved with small knives, while large areas to be left blank were hollowed out with round or square chisels. To secure accurate register, guide marks called kento were carved in relief of the block (and all subsequent blocks): a right-angled mark in the lower right hand corner and, to the left of it, a straight mark in line with its lower arm. This ensured synchronization of each color in the print.
Overview of the printing process
The impressions were then achieved by scrubbing the back of a slightly moistened paper placed over a painted block with a round-shaped pad called a barren made from the outer sheaf of bamboo. The printer would throw his weight onto this pad using a zigzag 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 hen became necessary before more impressions could be taken. It is believed that a fine edition of 200-300 would take approximately 2 weeks to complete, but lower standards such as fewer colors and less care could reduce this time drastically. After the first printing, the 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 colors. The harsher aniline dyes of the mid-19th century from Europe might come initially as a shock, but one learns to accept the particular merits. The paper chiefly used was a variety called Hosho. This was made from the fibers 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 barren.
Indicating the colors
The ink block next went to the printer, who painted it with black ink, placed on it a thin sheet of high-quality Japanese paper, and then rubbed the paper with a barren pressing pad to make an ink proof. He repeated the process until he had produced ten or more such proofs, roughly the same number of colors to be used in the completed print. These proofs were delivered to the artist, who indicated on them the colors for which the various color blocks were to be carved. One proof was used for each color, and the artist marked in red the areas that were to carry that particular color.
Carving the color blocks
The color-block carvers, having received the proof sheets, pasted each on a separate block and carved out all but the areas indicated for the individual colors. On the ink block, all outlines were raised, but now only the individual color areas remained in relief. Again, as in the ink block, guide marks were carved. A carver was required to serve an apprenticeship of about ten years under a single master before he was considered to have mastered his craft. The master, for his part, customarily distributed the work among his apprentices according to their respective levels of skill, and therefore benefited from the division of labor.
Printing
After leaving the hands of the carvers, the ink block and the color blocks were handed to the printers, who had prepared the sheets of printing paper by sizing them with a mixture called dosa and then moistening them. The printing stand was covered with a wet cloth to prevent the blocks from sliding. First, the ink block was placed on the stand and painted with black ink. Next a sheet of printing paper was placed on the block in careful alignment with the guide marks. The printer then pressed the paper down and rubbed it with his barren pressing pad. After the ink impression had been made, the ink block was removed from the stand, and the color blocks were employed in succession to produce the first complete print. This print, the specimen proof, was made exactly according to the artist's instructions concerning such matters as color tones and the distribution of dark and light shading. Once it had been approved, production went forward in earnest.
A clear distinction was made between color printers and ink printers, and the production of polychrome prints was, of course, the business of color printers. The master printer, like the master carver, divided the labor among his subordinates according to their various abilities. It is interesting to note that during the Edo period the artist would never furnish the printers with a proof that he himself had colored, regardless of how complex the color requirements might be.
The process of traditional woodblock printing is accomplished through the work of three different people: the artist who draws the prints and decides on the color scheme for each one, the publisher who commissions the work and the carver who cuts the prints out of either cherry or pear wood (or other similar woods).
The process starts with a black-ink block and follows through with successive color blocks, which ultimately produces a finished print.
The Ukiyo-e artists of the Edo period produced hanshita-e (underdrawing) in accordance with the plan of the publisher who commissioned the work. It was then submitted to the censor, who was either a representative of a wholesale dealer, or in later times, a government official. Once approval had been obtained, the carver prepared the blocks, and the printers produced the prints.
Hanshita-e
The artist first sketched an underdrawing that was exactly the same size as the finished print to be completed. Over this, the artist placed a thin sheet of strong minogami paper and traced the outlines of the sketch in black ink.
Carving the ink block
The hanshita-e was pasted face down on a dried block of straight-grained cherry wood, which was then carefully carved so that the lines of the drawing were left in relief. Complicated areas were carved with small knives, while large areas to be left blank were hollowed out with round or square chisels. To secure accurate register, guide marks called kento were carved in relief of the block (and all subsequent blocks): a right-angled mark in the lower right hand corner and, to the left of it, a straight mark in line with its lower arm. This ensured synchronization of each color in the print.
Overview of the printing process
The impressions were then achieved by scrubbing the back of a slightly moistened paper placed over a painted block with a round-shaped pad called a barren made from the outer sheaf of bamboo. The printer would throw his weight onto this pad using a zigzag 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 hen became necessary before more impressions could be taken. It is believed that a fine edition of 200-300 would take approximately 2 weeks to complete, but lower standards such as fewer colors and less care could reduce this time drastically. After the first printing, the 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 colors. The harsher aniline dyes of the mid-19th century from Europe might come initially as a shock, but one learns to accept the particular merits. The paper chiefly used was a variety called Hosho. This was made from the fibers 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 barren.
Indicating the colors
The ink block next went to the printer, who painted it with black ink, placed on it a thin sheet of high-quality Japanese paper, and then rubbed the paper with a barren pressing pad to make an ink proof. He repeated the process until he had produced ten or more such proofs, roughly the same number of colors to be used in the completed print. These proofs were delivered to the artist, who indicated on them the colors for which the various color blocks were to be carved. One proof was used for each color, and the artist marked in red the areas that were to carry that particular color.
Carving the color blocks
The color-block carvers, having received the proof sheets, pasted each on a separate block and carved out all but the areas indicated for the individual colors. On the ink block, all outlines were raised, but now only the individual color areas remained in relief. Again, as in the ink block, guide marks were carved. A carver was required to serve an apprenticeship of about ten years under a single master before he was considered to have mastered his craft. The master, for his part, customarily distributed the work among his apprentices according to their respective levels of skill, and therefore benefited from the division of labor.
Printing
After leaving the hands of the carvers, the ink block and the color blocks were handed to the printers, who had prepared the sheets of printing paper by sizing them with a mixture called dosa and then moistening them. The printing stand was covered with a wet cloth to prevent the blocks from sliding. First, the ink block was placed on the stand and painted with black ink. Next a sheet of printing paper was placed on the block in careful alignment with the guide marks. The printer then pressed the paper down and rubbed it with his barren pressing pad. After the ink impression had been made, the ink block was removed from the stand, and the color blocks were employed in succession to produce the first complete print. This print, the specimen proof, was made exactly according to the artist's instructions concerning such matters as color tones and the distribution of dark and light shading. Once it had been approved, production went forward in earnest.
A clear distinction was made between color printers and ink printers, and the production of polychrome prints was, of course, the business of color printers. The master printer, like the master carver, divided the labor among his subordinates according to their various abilities. It is interesting to note that during the Edo period the artist would never furnish the printers with a proof that he himself had colored, regardless of how complex the color requirements might be.
в Сб Окт 02, 2010 2:56 am автор Irunya
HASUI -- "Misty Morning"
Title: “Misty Morning at Yotsuya Mitsuke” (“Kiri no Asa (Yotsuya Mitsuke)”)
Date: 1932 (later edition by Seki, c1981-93)
Title: “Misty Morning at Yotsuya Mitsuke” (“Kiri no Asa (Yotsuya Mitsuke)”)
Date: 1932 (later edition by Seki, c1981-93)
в Сб Окт 02, 2010 3:01 am автор Irunya
Ну, не отличишь от живописи, ужас!
kawase Hasui (1883-1857)
Early Autumn at Itako
Watanabe , Undated 1942
Hotei 468 Narazaki 378
Condition
minor browning Sold
kawase Hasui (1883-1857)
Early Autumn at Itako
Watanabe , Undated 1942
Hotei 468 Narazaki 378
Condition
minor browning Sold
в Сб Окт 02, 2010 3:04 am автор Irunya
kawase Hasui (1883-1857)
Yanagawa river ,Chikugo
Watanabe 1949
Hotei 528 Narazaki 504
Condition $800.00
Small Fold to upper left corner folded
Pencil notation to lower left corner
I like it very mach.
Yanagawa river ,Chikugo
Watanabe 1949
Hotei 528 Narazaki 504
Condition $800.00
Small Fold to upper left corner folded
Pencil notation to lower left corner
I like it very mach.
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