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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.
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 .
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.
Mameban (豆判); a print size about 4.75 by 3.2 inches (12.1 cm × 8.1 cm), sometimes called a "toy print" Megane-e (眼鏡絵); a print designed using graphical perspective techniques and viewed through a convex lens to produce a three-dimensional effect; Meisho (名所); famous sites often depicted in ukiyo-e
Woodblock prints allowed two mirror images to be easily replicated on a single sheet. Thus two pages were printed on a sheet, which was then folded inwards. The sheets were then pasted together at the fold to make a codex with alternate openings of printed and blank pairs of pages.
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 ...
Sumizuri-e Print by Nishikawa Sukenobu. Sumizuri-e is a type of monochromatic woodblock printing that uses only black ink. It is one of the earliest forms of Japanese woodblock printing, dating back to the Nara period (710 – 794). Sumi-e translates to “ink wash painting,” which is a type of East Asian brush painting technique that uses ...
As Japanese prints of the Edo period were read from right to left, they represent the two right-hand panels of the four-panel set. They are numbered with the kanji characters 一 (1) and 貳 (2) in black ink within yellow squares at the top of the left-side column of the rectangular seal and signature cartouches.