Adopsi
of offset lithography in Japan at the end of the 19th century marked the
decline of the ukiyo-e periode
of cetak balok kayu. Early in the 20th century, the traditional method of Japanese
print making was revived. This revival
period, known as shin hanga or “new prints”, lasted from the beginning of World
War I to the beginning of World War II.
Listen to a lecture on the popularity of Shin-hanga in the United States
of offset lithography in Japan at the end of the 19th century marked the
decline of the ukiyo-e periode
of cetak balok kayu. Early in the 20th century, the traditional method of Japanese
print making was revived. This revival
period, known as shin hanga or “new prints”, lasted from the beginning of World
War I to the beginning of World War II.
Listen to a lecture on the popularity of Shin-hanga in the United States
Hanya
as ukiyo-e woodblock printing relied upon a collaboration of publisher, artist,
woodblock carver and printer, so did the practitioners of shin-hanga printing. Japanese print making was also characterized by its subject matter, which depicted
traditional themes of everyday life, such as kabuki actors, beautiful women,
landscapes and landmarks.
as ukiyo-e woodblock printing relied upon a collaboration of publisher, artist,
woodblock carver and printer, so did the practitioners of shin-hanga printing. Japanese print making was also characterized by its subject matter, which depicted
traditional themes of everyday life, such as kabuki actors, beautiful women,
landscapes and landmarks.
design motifs and decorative style of shin-hanga prints catered to the tastes
of the U.S. market, which represented a major portion of the Japanese print
pasar. To this end, landscape artist Hiroshi Yoshida, who is regarded as one of the most accomplished shin-hanga print makers, selected non-Japanese
imagery for his landscape prints, such as the Grand Canyon. After the attack on Pearl Harbor, Americans had lost their taste for
anything Japanese, especially an art form, which romanticized Japanese life.
Pada
same time that the shin-hanga printing flourished, another art movement was
taking root. It is known as the sōsaku-hanga or “creative prints” movement. While
shin-hanga represented traditional collaborative printing, the sōsaku-hanga
creative print movement embraced the individuality of the artist. These modern
day artists not only designed the layout, but also carved the woodblocks and
did their own printing.
same time that the shin-hanga printing flourished, another art movement was
taking root. It is known as the sōsaku-hanga or “creative prints” movement. While
shin-hanga represented traditional collaborative printing, the sōsaku-hanga
creative print movement embraced the individuality of the artist. These modern
day artists not only designed the layout, but also carved the woodblocks and
did their own printing.
 |
|
“Fisherman” by Yamamoto Kanae (1904) exemplifies the sōsaku-hanga art movement. Work is in the Public Domain PD-1923. |
Secara tematis,
subject matter for the sōsaku-hanga artists was as varied as their
personalities. After all, this art movement by its very nature was fueled by
individuality and creativity, not conformity. Styles ranged from contemporary
to expressionistic to abstract. In many respects, artistic developments in
Japan paralleled those occurring in Europe and the United States.
subject matter for the sōsaku-hanga artists was as varied as their
personalities. After all, this art movement by its very nature was fueled by
individuality and creativity, not conformity. Styles ranged from contemporary
to expressionistic to abstract. In many respects, artistic developments in
Japan paralleled those occurring in Europe and the United States.
Berikut
WWII, shin-hanga prints never regained the popularity that it enjoyed before
the war. Instead, tastes in Japan and America had changed. As people looked to
the future, they embraced a more modern artistic vision. Following the war, sōsaku-hanga
artists enjoyed a period of acceptance in the American art market.
WWII, shin-hanga prints never regained the popularity that it enjoyed before
the war. Instead, tastes in Japan and America had changed. As people looked to
the future, they embraced a more modern artistic vision. Following the war, sōsaku-hanga
artists enjoyed a period of acceptance in the American art market.
ARTIKEL TERKAIT
Apa itu Cetak Relief?
Apa itu Cetakan Ukiyo-e?
Bagaimana Seni Cetak Jepang Mempengaruhi Seni Barat
Evolusi Warna dalam Cetakan Blok Kayu Jepang
Apa itu Cetakan Ukiyo-e?
Bagaimana Seni Cetak Jepang Mempengaruhi Seni Barat
Evolusi Warna dalam Cetakan Blok Kayu Jepang
Pembagian Kerja dalam Produksi Percetakan Jepang Kuno
Daftar Periksa untuk Pencetakan Relief dengan Tinta Berbasis Minyak
Alat Ukir Jepang untuk Cetak Relief Blok Kayu
Pisau Ukir Jepang untuk Cetak Blok Kayu
Mengukir Balok Kayu, Potongan Kayu, dan Linocut dengan Aman
Ujung Linocut
Kertas Jepang untuk Seni Cetak
Cara Pembuatan Kertas Mulberry Jepang
Bagaimana Kertas Buatan Tangan di Barat Dibuat
Memilih Brayer untuk Cetak Relief
Memilih Kayu untuk Cetak Relief
Memilih Tinta untuk Cetak Relief
Menorehkan Tinta pada Panel Blok Kayu
Pembersihan Setelah Pencetakan Relief
Daftar Periksa untuk Pencetakan Relief dengan Tinta Berbasis Minyak
Alat Ukir Jepang untuk Cetak Relief Blok Kayu
Pisau Ukir Jepang untuk Cetak Blok Kayu
Mengukir Balok Kayu, Potongan Kayu, dan Linocut dengan Aman
Ujung Linocut
Kertas Jepang untuk Seni Cetak
Cara Pembuatan Kertas Mulberry Jepang
Bagaimana Kertas Buatan Tangan di Barat Dibuat
Memilih Brayer untuk Cetak Relief
Memilih Kayu untuk Cetak Relief
Memilih Tinta untuk Cetak Relief
Menorehkan Tinta pada Panel Blok Kayu
Pembersihan Setelah Pencetakan Relief
Tentang Jim Hingst: Setelah empat belas tahun menjabat sebagai Manajer Pengembangan Bisnis di RTape, Jim Hingst pensiun. Ia terlibat dalam banyak aspek bisnis perusahaan, termasuk pemasaran, penjualan, pengembangan produk, dan layanan teknis.
Hingst memulai kariernya 42 tahun lalu di bidang seni grafis dengan membuat dan memproduksi materi iklan dan promosi untuk produsen peralatan uji besar. Bekerja untuk percetakan offset, percetakan layar format besar, produsen film vinil, dan perusahaan pita aplikasi, pengalamannya meliputi estimasi, perencanaan produksi, pembelian dan produksi seni, serta penjualan dan pemasaran. Dalam kapasitasnya sebagai tenaga penjual, Hingst diakui dengan berbagai penghargaan atas prestasi penjualan.
Dengan mengandalkan pengalamannya dalam produksi dan sebagai subkontraktor pemasangan grafis, Hingst memberikan saran praktis kepada industri, dengan menerbitkan lebih dari 150 artikel untuk berbagai publikasi, seperti Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics, dan Sign Builder Illustrated. Ia juga mengunggah lebih dari 450 cerita di blognya (hingstssignpost.blogspot.com). Pada tahun 2007, buku Hingst, Vinyl Sign Techniques, diterbitkan. Teknik Tanda Vinyl tersedia di distributor perlengkapan tanda dan di Amazon.
