2019年1月9日 星期三

Shin-hanga (新版画 ) 運動, 約 1915 至 1942


1870-1949
Temple Kinryuzan 1938

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Tsuchiya Kōitsu

Tsuchiya Koitsu (土屋光逸) was an important artist in the Shin-hanga movement. He trained under the ukiyo-e master Kobayashi Kiyochika for 19 years, and initially focused on works depicting scenes from the First Sino-Japanese War. In 1931, at the age of 60, he began work for Shōzaburō Watanabe and his art publishing establishment which also published the work of artists like Kawase Hasui and Yoshida Hiroshi. His later work incorporated light effects to increase the emotional impact of his art.

Biography[edit]

Born on September 23, 1870, in Hamamatsu, Shizuoka, Japan. His birth name was either Koichi or Sahei. He moved to Tokyo at age 15. He first had an apprenticeship for the woodblock carver Matsuzaki, but soon became a student of ukiyo-e master Kiyochika Kobayashi. He worked for Kiyochika for 19 years and lived in his house.

He initially published prints made during the First Sino-Japanese War, before developing his skill with dramatic light effects, learned from Kiyochika. Koitsu published through the Watanabe publishing house after Watanabe and Koitsu met at an exhibition commemorating the 17th anniversary of Kiyochika's death. He also produced prints for publishers Doi Sadaichi, Kawaguchi, Baba Nobuhiko, Tanaka Shobido, and Takemura.

References[edit]

  • Helen Merritt Modern Japanese Woodblock Prints : The Early Years". Leiden: Hotei Publishing, 2001. ISBN 90-74822-38-X.
  • Helen Merrit, Nanako Yamada Guide to Modern Japanese Woodblock Prints 1900-1975 University of Hawaii Press, 1995 ISBN 08-24817-32-X.
  • Saoya Shinora Genkouyoushi Paper. Independent Publisher, 2019 ISBN 17-03000-18-8


External links[edit]

 Media related to Tsuchiya Kōitsu at Wikimedia Commons




Shin-hanga

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Woman At Her Bath, by Hashiguchi Goyō (1915)
Zōjōji in Shiba, by Kawase Hasui(1925)
Shin-hanga (新版画, lit. "new prints", "new woodcut (block) prints") was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). It maintained the traditional ukiyo-ecollaborative system (hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the sōsaku-hanga (creative prints) movement which advocated the principles of "self-drawn" (jiga), "self-carved" (jikoku) and "self-printed" (jizuri), according to which the artist, with the desire of expressing the self, is the sole creator of art.
The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meishō), beautiful women (bijinga), kabuki actors (yakusha-e), and birds-and-flowers (kachō-e).

新版画(しんはんが)とは、明治30年前後から昭和時代に描かれた木版画のことを指し、版元を中心として、従来の浮世絵版画と同様に、絵師彫師摺師による分業により制作されており、浮世絵の近代化、復興を目指した。「新板画」とも表記された。

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