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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.
Insects and pests can destroy woodblock prints by eating through the paper or leaving droppings that stain the paper. 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 ...
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.
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)
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]
In 1908, aged nineteen, he travelled to London, [1] where he was among a group of woodblock print craftsmen who demonstrated printing techniques at the Anglo-Japanese Exhibition of 1910. He remained in London after the exhibition, restoring prints, making reproductions of prints, and mounting scrolls at the British Museum. [2]
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;
It proved to be particularly effective in expressing depth and distance, and its popularity may have been a major factor in establishing pure landscape as a new genre of ukiyo-e print. [ 4 ] Early adopters included Hokusai in his Thirty-six Views of Mount Fuji (1830), most notably in The Great Wave off Kanagawa and Kajikazawa in Kai Province .