#japanese print

[the-cricket-chirps]

Kawase Hasui

Pine Beach at Miho

1931

[microgeneration]

MacPaint ad, 1982

[crazyfox-archives]

"Night in Kyoto" by Sekino Jun'ichirō (関野凖一郎), 1980

[heaveninawildflower]

Camellia and Bird (Japanese, 1827) by Andō (Utagawa) Hiroshige (1797-1858).

Woodblock print.

Image and text information courtesy NYPL Digital Collection.

[moda365]

Aoyama Masharu ‘Exotic Flower’ circa 1950s.

Aoyama Masharu (1893 - 1969) was a Japanese printmaker. Studied ink painting at Tokyo School of Fine Arts and served in Imperial Household Museum until his retirement.

Known for carving the blocks for the prints, he was working in the sosaku-hanga (“creative prints”) movement, which began in the early 20th century and advocated self-drawn, self-carved, self-printed works.

[dogandcatcomics]

Credit: Morikazu Maeda (Japan, 1932-).

[batwynn]

The skeletons, the rain, and the moon.

[engicrafts]

This elegant 1902 illustration reveals a delicate design for Seto-yaki (瀬戸焼) ceramics, showcasing the refined artistry that flourished during the Meiji era. The composition features a graceful mantis perched on a gourd plant, intertwined with flowing vines and blossoms, all rendered in traditional shades of cobalt blue—a hallmark of Japanese ceramic decoration.

The scalloped edges of the dish design mirror the organic forms found in nature, while the meticulous brushwork captures the fragile beauty of the mantis and the intricate details of the plant’s leaves and tendrils. This balance between form and function reflects the Japanese aesthetic principle of harmony with nature (和), where even everyday objects are infused with artistic elegance.

During the Meiji period, Seto-yaki gained international recognition for its versatility and exquisite craftsmanship. Artisans not only preserved traditional techniques but also embraced new influences from abroad, resulting in designs that appealed to both domestic and global audiences.

Imagine this design coming to life in porcelain—its delicate blue hues glowing softly under a clear glaze, transforming a simple dish into a timeless piece of art. 🌿✨

[a-bit-of-japanology]

Paul Binnie (1994) - "Ryu ni Oni" (Dragon and Demon)

A demon is battling against a dragon using two swords. Black outlined tattoo in light green, blue and yellow colors on the back. Dragon in Orient, is not an evil creature but a mythical entity associated with the water and rain. Therefore, it was a favorite tattoo motif for firemen in Edo.

[constructies]

Woodblock prints by Nishijima Katsuyuki

[the-cricket-chirps]

Hishida Shunso

Black Cat

1910

[takunwilliams]

the great wave sketch by Takun Williams 2024

[crazyfox-archives]

A 19th-century print of Eleven-Faced Kannon Bodhisattva (十一面観音菩薩) flanked by the guardian deity Bishamonten (毘沙門天) and the wrathful wisdom king Fudō Myōō (不動明王) at Kegonji Temple (華厳寺) in Ibigawa, Gifu Prefecture, thirty-third temple in the Thirty-three Temple Western Pilgrimage Circuit

Woodblock print, ink on paper, with hand-applied color from the collection of the Museum of Fine Arts, Boston

[classic-asian-art]

Yoro Waterfall, Mino Province -  Katsushika Hokusai

[moda365]

Kiyoshi Saitō ‘Flower and a Girl’ 1974

Kiyoshi Saitō (1907 - 1997) was a celebrated Japanese printmaker.

Characterized by their distinctively graphic flatness, Saito’s works often feature recurring visual motifs endemic to Japanese landscapes, such as rural architecture, kimono-wearing women, and pinewood forests.

Saito’s work is known for fusing artistic Eastern and Western ideas and styles. He was inspired and influenced by Western artists including Paul Gauguin, Henry Matisse, and Pablo Picasso while also keeping to the long tradition of Japanese wood-block printmaking.

[dogandcatcomics]

#repost @fumiyanagimoto (Tokyo, Japan). I am a fan of the cat and dog representation in the work of this Japanese contemporary printmaker and ceramicist.