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Bokashi (Japanese: ぼかし) is a technique used in Japanese woodblock printmaking. It achieves a variation in lightness and darkness ( value ) of a single color or multiple colors by hand applying a gradation of ink to a moistened wooden printing block, rather than inking the block uniformly.
The Great Wave off Kanagawa (神奈川沖浪裏, Kanagawa-oki nami-ura) print by Hokusai Metropolitan Museum of Art. Woodblock printing in Japan (木版画, mokuhanga) is a technique best known for its use in the ukiyo-e [1] artistic genre of single sheets, but it was also used for printing books in the same period.
Bokashi (ぼかし); technique of applying a gradation of ink to a moistened block to vary lightness and darkness (value) of a single colour; Censor seal; from 1790 until 1876 all woodblock prints had to be examined by official censors, and marked with their seals; Chūban (中判); a print size about 7 by 10 inches (18 cm × 25 cm)
Details about the woodblock prints of Toyohara Chikanobu are provided below in a specific format: (1) the transliterated title employing Wiki-romanization criteria; (2) the title (enclosed in parentheses) of the work reproduced using the kanji and hiragana found in the title cartouche;
A common cause of holes in Japanese woodblock prints is the deathwatch beetle (Xestobium rufovillosum). These beetles were commonly found in wood used to build furniture in the Edo period. Woodblock prints that were stored on bookshelves, or other furniture infested with these beetles, also became infested themselves. [5]
The next development known as whirlwind binding (xuanfeng zhuang 旋風裝) was to secure the first and last leaves to a single large sheet, so that the book could be opened like an accordion. [16] Around the year 1000, butterfly binding was developed. Woodblock prints allowed two mirror images to be easily replicated on a single sheet.
Kanae Yamamoto's "Fisherman" (1904). Sōsaku-hanga (創作版画, "creative prints") was an art movement of woodblock printing which was conceived in early 20th-century Japan. . It stressed the artist as the sole creator motivated by a desire for self-expression, and advocated principles of art that is "self-drawn" (自画 jiga), "self-carved" (自刻 jikoku) and "self-printed" (自摺 jizur
The prints are nishiki-e "brocade prints"—multicolour woodblock prints made with pigments on hand-made washi paper. [20] They are in ōban size, each about 38 by 25 centimetres (15 in × 10 in). They were published c. 1797–98. [19] Each sheet is signed Utamaro hitsu (哥麿筆, "the brush of Utamaro"). [20]