#新版画
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"Dairai Shrine, Kumagaya" by Kawase Hasui (川瀬巴水), 1932
"Santuario Dairai, Kumagaya" de Kawase Hasui (川瀬巴水), 1932
#japanese art#japanese prints#新版画#shin hanga#shinhanga#川瀬巴水#kawase hasui#埼玉県#saitama prefecture#熊谷市#kumagaya#大雷神社#dairai jinja#神社#jinja#鳥居#torii#arte japonés#impresiones japonesas
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Hasui Kawase,
Starlit Night at Miyajima [1928]
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Sketches of Famous Places in Japan, Asakusa Kinryūzan Temple
by Tsuchiya Kōitsu (1938)
source
#found by kino#art history#japan#asia#color woodcut#Asakusa Kinryūzan Temple#japanese art#Tsuchiya Koitsu#Shin-hanga#新版画
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Introduction about My Original Artwork of Woodblock Printing.
When I wrote my last article, what I had in mind was that I would work for income more from this year.
（What follows in this parentheses is a bit long talking that has nothing to do with the main topic of this article and this time printmaking, but let me talk.
For the past few years, I have been doing ukiyoe reproducing without considering profitability. Because, there were looked for me various contradictions fundamentally in the traditional ukiyoe reproducing. But, basically, such those issues I found seemed a kind what was difficult for people to understand. It seems difficult matter for people even to imagine, including for experts. Actually, it was difficult also for me for a long time to understand why so, why such ukiyoe reproducing done by the first class people from the very past gets fraud or contradiction easily from the early step in a project of ukiyoe reproducing. But, I now think as the reasons, that carvers' and printers' knowledge about the materials and skills nowadays includes some many that were established after the Meiji era, ukiyoe reproducing has an aspect or element as a new tradition after the Meiji era, reproducing same ukiyoe print truly as it was in the Edo era is originally out of carver's and printer's concept of skills, and researching and understanding about ukiyoe reproducing has not been developed so much that such those are recognized well. Therefore, contradictions or frauds would inevitably arise from those.
Anyway, putting aside such my opinion, but please compare and observe the prints of the original and the reproduction more than anything. And please get to recognize the differences between the original print of the first edition and the reproduction of that, in terms of the materials use as paints and paper, and the skill qualities of carving and printing as line chipped, line distortion, color misregistration, color grazed, etc. Because, that seems to be very important to understand what ukiyoe reproduction is after all.
I'd like researcher or scientist particularly who relates a ukiyoe reproducing project to clarify such those differences between the original and the reproduction by doing comparative observation, as the basic knowledge for reproducing. And also to look and verify carver's and printer's theory of ukiyoe reproducing. Why does he retouch the line finally despite he traces it from the original very carefully using a latest equipment saying himself as if he tries to reproduce the same line？ Why does he have no interested in the original paints and paper of the original of the Edo era？ Please look and verify their theories behind those matters. Is that really what focuses on reproducibility or results to same ukiyo-e print of the Edo era ?
I consider the fundamental cause why ukiyoe of the Edo era have not been able to reproduce truly is that organizing concepts or theories is not done properly with verifying among persons who relate a project of ukiyoe reproducing, not lacks of the materials and the skills of carver and printer nowadays. Being adopted a theory which promise from the first to be making an modern improved ukiyoe print inevitably is the most cause why not done truly, I consider.
Talking a little long, unrelated the main topic of this article. But I as 19 years old started to do woodblock printmaking. I then became a printer, having a will which I someday in the future would reproduce ukiyoe in the truest sense, but such my idea was too different from the concept or theory of the traditional ukiyoe reproducing. So, I quit a printer and worked for it individually, but that was difficult to make a living. And I in the last year decided to put a period to such my work, but, as the period, what I left to say was such like that.）
Anyway , now let turn the main topic that is the printmaking this time.
So, when I thought about income, I came to think that if for income, is it better to make a something original print with ukiyoe or shi-hanga style than reproducing？ In actual, such kind of wood block prints has recently been produced frequently by various publishers. So, I this time tried to make such one.
Concerning specifically what I made, I from the past have had an idea that something nice print could be born if I make woodblock print from a vintage photo postcard as the following, which began to be frequently produced about the turn of the 20th century. So, I this time put it into action.
Concept of this time printmaking is "making a nostalgic and beautiful print". For me, one of the charms of ukiyoe and shi-hanga is nostalgia, showing the old days.
But, what is more important than that as the concept is making a beautiful print.
Although I already mentioned about income as the background of this time printmaking, it seems important for that to make a beautiful print which makes people happy to appreciate. Actually,Ｉdidn't have such idea so much in my past reproducing work, because reproducing same ukiyoe print thoroughly seemed for me essentially different matter from making a beautiful ukiyoe reproduction.
About the Design
This time I was inspired from this postcard and made the design. I'm not sure when this postcard was made, but since the postmark is 1939, so it would have been made around that year. It shows Shinobazu Pond with lotus flowers blooming in summer, in Ueno Park.
About the Materials
As woodblocks, I used a cheap cherry one for the keyblock. And, katsura and japanese lime for the color blocks. I didn't use expensive hard cherry wood block of good quality, because even those cheap wood blocks I selected seemed to be enough for the expression this time, and also l didn't have an idea to print in a large quantity.
As paper, l used handmade washi which I bought a little long time ago and left. Not sure though, it would be mulberry with pulp. I selected it thinking it responses enough for making a beautiful print.
As paints, l used chemical ones which a traditional printer nowadays has been using generally for reproducings of ukiyoe and shin hanga.
About the Carving&Printing
I didn't pursue too much the skills like which carver and printer normally do nowadays, particularly as the following.
·Carving lines without chipping.
·Carving smooth lines.
·Printing without color misregistration.
·Printing without paint grazing.
·Printing without paint accumulation ("tamari").
·Printing without paint stain in a superfluous area on a print.
The reason why I so was just for the expression, just for the taste of the print this time. But, as a premise of that, I have an idea as the following.
Such those kinds of carver and printer skills relate to beauty just only until a certain level.
What I mean is, when we look the original prints of ukiyoe and shin hanga (not reproductions at the present), there are many beautiful prints in spite of such skill matters aren't done so well. Especially in ukiyoe of the Edo era, it's normal it has some roughness parts in its skill quality. But, that seems natural matter, thinking that it in the Edo era had been produced very speedy by several hands from master to apprentices together. And also, since the skill level of carver and printer advanced around the Meiji era, a case also happens which even it was normal or good quality from the perspective of people of the Edo era, it looks to have noticeable roughness parts from nowadays. Even it's the first impression of the first edition which was careful made in the Edo era, it seems to have roughness parts usually if we look closely.
Also in the shin hanga, it doesn't seem rare that it has some roughness parts in its carving and printing if we look closely, though those would have been basically done as intentional expression in the case of shin hanga.
So, anyway, how much are such roughness parts in carving and printing related to the beauty of the print？
I think the first edition made carefully is more beautiful than its later edition made roughly. But, it's not rare even such first edition has some roughness parts.
And, is the beauty of that print spoiled by those roughness so much？ Or, would the image become more beautiful if those roughness are well fixed in reproducing？ I don't think it's either.
Therefore, it seems for me that the high skills of carver and printer relate to beauty of a print just only until a certain level, and unrelated over that level.
I this time printed 26 color impressions.
About Sale
Printmaking this time was so fun and comfortable. From the early step of the process, I could get something good feeling that a nice print could be born naturally, and also various nice images for the next prints came to my mind. However, whether I'll continue this project or not depends on its earnings.
Title: Ueno Park, Tokyo, 7, 1938
Paper size: 29×20.5 cm
The circulation is 23 of a limited edition. You perhaps wonder why it's such a small quantity. But, it's enough many from my sale ability at the present. I would make it more in the future new prints if people who would like to purchase my prints would appear in the future. But, in actual, if there were 20〜30 people who would like to purchase my prints around the world, that's Really enough for me.
It's available for sale in the following link.
If it would not be sold well, I will start again to make ukiyoe reproductions for vendors, as I had been doing in the past temporarily. That's not a work with publisher since I quit a printer years ago and not a carver from the first. That is a work which making in a large quantity in a cheap price while saving cost. But, that is what should be reached to an average level of ukiyoe reproduction in the market. That is a rewarding job also.
(I mentioned in the previous article, that I from this year would make ukiyoe eproduction including current condition. But I decided to stop that due to the sale risk. )
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川崎浮世絵ギャラリーで
新版画の沁みる風景展を見てきました！🗻
平日の昼でもけっこう混んでいました‼️
川瀬巴水がもちろん一番多いんですけど
石渡江逸の横浜万国橋とか吉田博の猿沢池とか見れて
いままでの浮世絵ギャラリーの展示の中でもかなり良かったし好きだったなと思いました。
あと結構最初の方に小原古邨とチャールズ・ウイリアム・バートレットが展示されていたですが
小原古邨のは本当に版画なのが信じられないですよね…
見れて良かったです
2/3まで(月曜休)なので是非行ってみてください‼️
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ポール・ジャクレー フランス人が挑んだ新版画
太田記念美術館で「ポール・ジャクレー フランス人が挑んだ新版画」展を見る。パリに生まれ、3歳の時に来日、以降ずっと日本に住んだフランス人版画家の画業を外観できる展示である。前期と後期とで全点展示替えがあったが、前期のほうは残念ながら見逃してしまった。
西洋人（幼少時から日本に住んでいたとはいえ）が日本を見る視線、そして他国を侵略する気満々だった時期の日本から南洋の国などへ出かけて行ってその土地の人々を見る視線、そこにはオリエンタリズムやコロニアリズムの影響がなかったとは思えないのだが、そういう論点は今回の展示には見受けられなかった。ジャクレーは描く対象の人物と良好な関係を築いていたというような説明もあったが、それとこれとは別問題である。
社会的な文脈を無視して画だけ見れば、たしかに色遣いの巧みさ美しさには、他の誰にも似ていないオリジナリティがある。通常の印刷物では再現が難しいであろう繊細な表現が多いので���一見の価値があると思う。ぱっと見で目に留まりやすいのはカラフルな色遣いかもしれないが、たとえば濃いめの黒地にやや薄めの墨黒の文様というような、コントラスト低めの同系色の組み合わせも効果的に使われており、見ていて飽きない。
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ポール・ジャクレー フランス人が挑んだ新版画 展
太田記念美術館 東京・原宿
日記 展覧会メモ
フランス出身だけどほぼ日本育ちだし画題はアジアというか朝鮮多めなのでフランス人要素をゴリ推す必要は無かったんじゃねぇかな！？ でも良い画家で良い展覧会です。
新版画で有名。幼少期から日本で育つ。池田輝方の弟子として日本画を学んだのち版画制作を始めた。輝方は鏑木清方主催の研究会に所属してた画家なのでジャクレーも鏑木清方関係の新版画家ですね。あと輝方は月岡芳年の孫弟子なので浮世絵の系譜。
日本画の基礎が出来てるので木版画によく馴染んでる。人物画中心で風景画はほぼ無かった。題材は民族の習慣やら文化だけど、日本画を学んでるだけあって何処となく美人画っぽいな〜と思う。だけどアイシャドウやまつ毛がしっかり描かれていて、古めかしい絵柄でも当時の現代女性を描いてる。というより、瞼をしっかり描くんだよな。瞼の厚みが色っぽい。
特徴的なのがエキゾチックな色使い。彩度高めだ〜！ 色数が多くても、目立たせたい色の彩度をパキッと上げてくるからスッキリして見える。色のバランスが絶妙。ジャクレーは摺りの回数がめちゃくちゃ多いんですが、この色使いの繊細さを思うと納得しかない。
特に透け感がマｧ〜〜天才なので見よう！今載せてないけどシースルー素材の入れ方がやばい。ほんとすごいから…！！！
ポール・ジャクレー 「打ち明け話の相手、連作 「満州宮廷の王女たち」 より」
前後期に別れていて、また後期には違う作品が出るので行かねば！ マジでまるっと全部作品が展示替えされます。
前期 6/3ー6/28
後期 7/1ー7/26
展覧会HP （画像の引用元もこちらです）
http://www.ukiyoe-ota-muse.jp/exhibition/pauljacoulet
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二〇二十三年小鳥カレンダー「いつも、一緒」
～季節と小鳥とお茶の時間～ 5月をUP☆
新茶
若葉が芽吹く八十八夜
日和も良くて初茶摘み
摘み取られた柔らかい新芽は
ありがたく大切な、一番茶
味も色も香りも高く
お気に入りの急須と湯呑みでいただくと
特別なひとときとなった
銅版画と詩 山田ミヤ��
新茶が発売の季節です、美味しいお茶を飲みたいなと思って、この絵柄を制作しました。
花ショウブが手に入り一緒に飾ってみました。
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東京・東神田のカフェでは、４０人が同じ本を２時間黙読するイベントがあった。作品に関連する音楽や食事も用意され、読んだ後は交流の時間。手がけているのは、飲み物と文庫本をセットで提供するサービスをカフェに提案するなど、本との出会いを仕掛けている内沼晋太郎さんとその仲間。
— 朝日新聞『本好き激増計画 出版不況を吹っ飛ばすあの手この手の大作戦』（2013年11月Kindle版、朝日新聞社）
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【桃の花】 春ですね。東京で、ひと足早く春を満喫してきましたが、旭川もずいぶんと、春めいて来てソワソワします。 作品は昨年のあさひかわ新聞連載されたミニエッセイのイラストです。 最近アップしていませんでしたが、毎月第3火曜日に掲載されています〜！あさひかわ新聞さんのサイトから、過去のミニエッセイが見れますのでぜひどうぞ〜！ #暮らしの隅を彫る #あさひかわ新聞 #もものはな #hokkaido_life #版画作品 #illustration #asahikawa https://www.instagram.com/p/CpzE7I-BO5U/?igshid=NGJjMDIxMWI=
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“Rain in Kiyomizu Temple” by Asano Takeji (浅野竹二), 1951
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8月24日（木）open 12-18
雨がざあっときて、今は晴れていて、忙しい空です。
空模様の縫い目を辿って駆け抜けると、息切れしそうになりますので、深呼吸を。
本日も皆さまどうぞよろしくお願いいたします。
坂本さんの言葉を改めて読んでいると、たまらなく胸がぎゅうとなりますね。
絵（版画）はもちろんですが、坂本さんの言葉にもたくさん触れていただけたらなぁと思って、ギャラリー内には、過去の雑誌の取材記事なども置いてあります。
是非ゆっくりご覧ください。
この週末までの会期ですが、まだお選びいただける作品もございます。（pic1）
さて本の発注もなかなかままならない中川ですが、今日の新・再入荷の本たちからちらり。
若き宮本信子さんが首根っこ咥える猫、コガネマル。（pic2）
どちらもかわいいですね。
『伊丹十三の台所』より。
もう何度も再入荷しています。
「いきものを だくと
いのちに だかれる」
（pic3）
こちらも何度も棚に帰ってきてくれる『せんはうたう』より。
谷川俊太郎の言葉と望月通陽の絵。
水丸さんの描く松本城。（pic4）
こちらは新入荷『たびたびの旅』より。
『東京ハイキング』も再入荷しました！
#ねこのねえ原画展#坂本千明#紙版画#新再入荷#伊丹十三の台所#つるとはな#せんはうたう#谷川俊太郎#望月通陽#ゆめある舎#たびたびの旅#田畑書店#東京ハイキング#淡交社#安西水丸#本屋#本中川#松本市
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2023年5月29日月曜日、天気はくもりや雨。
もう梅雨かな？しばらく晴れはなさそうです。
『戦場のメリークリスマス ４K修復版』（追悼ロードショー）
23年5月26日（金）公開
1983年製作／123分／日本・イギリス・ニュージーランド合作 原題：Merry Christmas Mr. Lawrence 配給：アンプラグド 監督：大島渚 日本初公開：1983年5月28日
youtube
坂本龍一さん追悼上映で、2021年に公開されたリマスター版が再上映されるらしい。坂本さんのポスターの顔すごく難しかった。なんとも言えない顔されていますね。自分の描いたヨノイさんはなんか悲しそうな顔になってしまったよ。
雨のせいかすごく眠い日が続きますね。どうでしょうか。しばらく暗くなるのが早い日が続くのでしょうか。そして数週間後久々に晴れたらめちゃくちゃ日が長くなっているパターンだね。びっくりするんですよね。季節が巡っている。
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劇場版名探偵コナン『黒鉄の魚影』見てきました！！
こんにちは☻おまめママです☻
本日は最新作の劇場版名探偵コナンについて
もう毎年劇場版コナンを楽しみに生きております
年に一度のお祭りって感じ
今年で25弾
ネタバレしないように書いてみます
そもそも名探偵コナンとは？？
青山剛昌作の漫画現在コミックスは103巻まで発売中
世界的推理小説家の父を持つ高校生探偵・工藤新一。数々の難事件を解決してきた彼は、ある日、幼なじみの毛利蘭とデートの途中、謎の黒ずくめの男達の取引を目撃してしまった！！証人を消すべく毒薬を飲まされた新一は、何とか命をとりとめたものの、子どもの姿になってしまう…！
そして彼は江戸川コナンの名を使い、難解な事件を解き続ける。全ては謎の組織の正体を突き止め、工藤新一としての自分を取り戻す為…この世に解けない謎なんてあるはず無い！迷宮入りなしの名探偵、真実はいつもひとつ！！
今年公開の黒鉄の魚影のストーリー
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