Japanese Wood Engravings: Their History, Technique and CharacteristicsSeeley, 1895 - 80 páginas |
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actors albums amongst artisan Arts of Japan Author's Collection block book illustration British Museum British Museum Collection Buddhist chiefly China Chinese Chromoxylographic broadsides chromoxylography colour print decorative designs drawing E-hon ENGRAVING IN BLACK European FOURTH PERIOD gwa-fu Gwa-to hand-coloured Hanzan Hasegawa Settan Hiroshige Hishigawa Moronobu Hogen Monogatari ichimai-yé illustrated books Isai Isé Monogatari Japanese engraving Japanese Woodcutting Kano Tanyu Katsugawa Shunshō Katsushika Keisai so-gwa Kikuchi Yosai Kioden Kiyonaga Koreans Kunisada Kuniyoshi Kusa-zoshi Kwanyin Sutra landscape later Mangwa mei-hitsu gwa yei Meisho dzu-yé Nishigawa Sukénobu Nishimura Shigénaga novelettes Okumura Masanobu Orihon painter paper Pictorial Arts pictorial engraving PLATE popular school portraits priest published pupil Reduced facsimile Sensai Yeitaku Shigémasa single sheet style surimono Suzuki Harunobu Tachibana Morikuni theatrical Tokuno topographical handbooks Torii Kiyonaga Torii Kiyonobu Utagawa Toyohiro Utagawa Toyokuni volumes Wa-Kan mei-hitsu gwa women wood engraving woodcut woodcut after Kano xylographic Yamato Year's cards Yedo Yeishi
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Página 64 - The effect of printing from two or more blocks was obtained in some cases by preparing a single block with ink of different colours, or with different shades of the same colour. This appeared as early as 1740 in some landscapes in the Gwako senran...
Página 62 - ... revival, like those fine days which, in late autumn, sometimes make us think that summer is coming back. The tools used by Japanese wood engravers and printers are few and simple. The picture, drawn upon thin translucent paper, is pasted face downwards upon a plank of wood, usually cherry or...
Página 38 - ... to the passing of Utagawa Toyokuni : the eye is beguiled by a brush stroke of ineffable calligraphic beauty and by a tender harmony of colour that cheers, but never wearies the senses. In most of the popular broadsides of this time an almost feminine gentleness pervades the choice of motive and its treatment, and it is but rarely, as in some of the earlier work of Toyokuni and his pupil Kuniyasu, that a stronger chord is struck. As schemes of dramatic decoration they are scarcely to be surpassed...
Página 63 - ... with a knife, and the spaces between the lines of the drawing excavated by means of chisels and gouges. The block is then washed and is ready for use. The printer applies the ink or colour with a brush, and the impressions are taken upon specially prepared paper by rubbing with a flat padded disc, worked by hand pressure. Certain gradations of tone, and even polychromatic effects may be produced from a single block, and uninked blocks are often used for the purpose of embossing portions of the...
Página 64 - ... purpose of embossing portions of the design. The effect of printing from two or more blocks was obtained in some cases by preparing a single block with ink of different colours, or with different shades of the same colour. At other times a lighter tint was obtained by simply wiping portions of the block. In the ordinary colourprints the effects are obtained by the use of a number of additional blocks engraved in series from copies of the impression taken from the first or outline block. Correctness...
Página 30 - Japanese prints, they are not the women of Japan or of any other country, but of the artist's imagination.
Página 59 - Vol. 2. 59 imaginary, like the women of Utamaro, or modelled upon stage impersonations, adjusted to the tastes of an audience from which, unfortunately, all the representatives of culture and gentle birth were excluded by the social law of the age.
Página 38 - There are no colored engravings in the world that may be compared with those of Japan in the long period from the coming of Torii Kiyonaga to the passing of Utagawa Toyokuni...
Página 76 - LJtamaro, and Toyokuni, see Plates I — VI. For Okumura Masanobu see Fig. 7, p. 18. For Kiosai, see Fig. 33, p. 65. The names by which the later popular artists are known are nearly all patronymics or noms de guerre, adopted in compliment to their teachers. For example, Kondo Jiubei, on entering the school of Utagawa Ichiriusai Toyohiro, thenceforth signed himself Utagawa Hiroshige ; Ichiriusai Hiroshige, or Hiroshige (the final name is always that by which the person is familiarly designated).
Página 64 - Tokuno, the chief of the Bureau of Engraving and Printing of the Ministry of Finance in Tokyo, has been printed by the Smithsonian InstiPLATE 6.