Japanese printmaking, particularly woodblock printing, holds a revered place in the annals of art history. Evolving over centuries, it has not only shaped Japan’s cultural and aesthetic identity but also left an indelible mark on Western art movements. This article delves into the rich history of Japanese printmaking, exploring key concepts such as Mokuhanga, Bokashi, and Ukiyo-e, and highlighting the contributions of renowned artists who mastered this intricate art form.
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Table of Contents
Origins of Japanese Printmaking
The roots of Japanese printmaking can be traced back to the 8th century, primarily for the purpose of reproducing Buddhist texts and images. These early prints were largely monochromatic, utilising simple techniques to disseminate religious teachings. It was not until the Edo period (1603–1868) that printmaking evolved into a sophisticated art form, embracing colour, complexity, and a broader range of subjects.
Mokuhanga: Traditional Japanese Woodblock Printing
What is Mokuhanga?
Mokuhanga refers to the traditional Japanese technique of woodblock printing. The term combines “moku” (wood) and “hanga” (print), signifying prints made from carved wooden blocks. Mokuhanga is celebrated for its meticulous craftsmanship and the harmonious blending of natural materials.
Mokuhanga Printing by acwwoodcuts.com
Materials and Techniques
The Mokuhanga process involves several key pieces of equipment:
- Woodblocks: Typically made from cherry wood for its fine grain and durability, which allows for detailed carving and repeated use.
- Tools:
- Carving Knives and Chisels: Used to incise the design into the woodblock.
- Komasuki (U-gouge) and Hangito (V-gouge): These specialised Japanese carving tools allow for precise cuts and intricate detail, essential for fine lines and complex designs.
- Baren: A traditional hand tool, often made from bamboo, used to press the paper onto the inked woodblock. The baren provides control over pressure and ensures even ink transfer.
- Brushes (Maru-bake and Hake): Special brushes used to apply ink or pigment onto the woodblock. Maru-bake brushes are round for detailed areas, while Hake brushes are flat, ideal for covering larger areas and achieving even ink distribution.
- Mizubake (Water Brush): Used to dampen the washi paper before printing, helping the paper absorb the ink smoothly and maintaining its flexibility during printing.
- Paper: Washi, a type of Japanese paper made from the fibres of the mulberry tree, provides a resilient yet delicate surface ideal for absorbing water-based inks without bleeding.
- Ink and Pigments: Water-based inks and natural pigments offer a wide spectrum of colours and allow for subtle gradations. For traditional black, artists may use a sumi ink stick rubbed on a grinding stone with water to create a deep, nuanced black ink.
- Kento Registration Blocks: Small carved guides on the woodblock (or separate pieces) help align the paper accurately with each block. This is crucial for multi-colour prints, ensuring that each layer of colour is properly aligned.
Artists apply ink to the woodblock’s surface and press the paper onto it, transferring the image. This process is repeated with different blocks for each colour, resulting in a multi-coloured print.
Dabbing on rice paste by acwwoodcuts.com
Ukiyo-e: The Art of the Floating World
Definition and Origins
Ukiyo-e, meaning “pictures of the floating world,” emerged in the Edo period (1603 – 1868) as a genre of art depicting the hedonistic pleasures of urban life. These woodblock prints illustrated scenes from entertainment districts, including kabuki theatre actors, courtesans, and landscapes.
Cultural Context
During the Edo period, Japan experienced economic growth, strict social order, and isolation from foreign influence. The merchant class, though low in social hierarchy, accumulated wealth and became patrons of the arts. Ukiyo-e catered to their tastes, reflecting contemporary fashions, popular stories, and famous personalities.
Themes and Subjects
Ukiyo-e artists explored themes that mirrored the interests and culture of Edo-period Japan. Common themes include:
Bijin-ga (美人画): Portraits of Beautiful Women
Bijin-ga translates to “pictures of beautiful women” and features elegant portrayals of courtesans, geishas, and ordinary women. These prints highlighted contemporary fashion, hairstyles, and the graceful aesthetics of femininity.
Yakusha-e (役者絵): Depictions of Kabuki Actors
Yakusha-e focuses on kabuki theatre actors captured in dynamic poses and expressive costumes. These prints were akin to celebrity portraits, celebrating popular actors and immortalising notable performances.
Meisho-e (名所絵): Famous Landscapes and Scenic Spots
Meisho-e, meaning “pictures of famous places,” depicts renowned landscapes, cityscapes, and landmarks across Japan. Artists like Hokusai and Hiroshige illustrated scenes that showcased the country’s natural beauty and cultural heritage.
Shunga (春画): Erotic Prints
Shunga, or “spring pictures,” comprises erotic prints that candidly portray intimate relationships. Despite facing censorship, these works were widely circulated and offer insight into the private lives and societal attitudes of the time.
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Techniques in Japanese Woodblock Printing
Bokashi (ぼかし): Gradient Printing
Bokashi (ぼかし) is a technique used to create graduated colours and subtle transitions in prints. By carefully applying ink to the woodblock and manipulating its distribution, artists achieve a sense of depth and atmosphere. This technique is particularly effective in landscape prints, where it can mimic mist, shadows, water, or the fading light of dusk.
Takashi Beach – Utagawa Hiroshige 1853
Japanese woodblock printing employs various specialised techniques to enhance the visual appeal of prints:
Kira-e (雲母摺り): Use of Mica Dust to Add Sparkle
Kira-e involves sprinkling mica powder onto the print to create a sparkling effect. Artists mix mica dust with a transparent glue and apply it to specific areas of the print. This technique adds a shimmering quality, often used to highlight elements like water, textiles, or celestial bodies, giving the artwork a luxurious and luminous appearance.
Karazuri (空摺り): Blind Embossing Without Ink for a Raised Effect
Karazuri, meaning “empty printing,” is a method where the artist embosses patterns onto the paper without using ink. By pressing the paper onto a carved but uninked block, a raised design is transferred, adding texture and depth. This subtle effect is commonly used to depict details like clothing patterns, waves, or flower petals, enhancing the tactile quality of the print.
Fukibokashi (吹きぼかし): Blowing Pigment onto the Block for a Soft Focus
Fukibokashi translates to “blown gradation.” In this technique, the artist blows pigment onto the woodblock through a tube or brushes it softly, creating a gentle, diffused effect. This allows for smooth transitions between colours and tones, imparting a soft-focus look. Fukibokashi is often used to depict atmospheric elements like fog, clouds, or the subtle shifts in sky hues during sunrise and sunset
Famous Japanese Woodblock Print Artists
Katsushika Hokusai (1760–1849)
Katsushika Hokusai is perhaps the most internationally recognised Japanese artist. His series “Thirty-six Views of Mount Fuji” includes the iconic print “The Great Wave off Kanagawa”, showcasing his mastery of composition and natural themes.
The Great Wave off the Coast of Kanagawa – Katsushika Hokusai 1831
Utagawa Hiroshige (1797–1858)
Renowned for his serene landscapes, Hiroshige’s works like “The Fifty-three Stations of the Tōkaidō“ capture the essence of Japanese scenery. His use of perspective and weather elements influenced many Western artists.
The Fifty-three Stations of the Tōkaidō – Utagawa Hiroshige 1833–1834
Kitagawa Utamaro (c. 1753–1806)
Utamaro specialised in bijin-ga, portraying women with elegance and grace. His ability to convey subtle emotions made his work stand out in the Ukiyo-e genre.
Young Woman Blowing a Glass Noisemaker -Kitagawa Utamaro 1792
Toshusai Sharaku (active 1794–1795)
Sharaku is known for his striking portraits of kabuki actors. His bold style and exaggerated features offer a dramatic glimpse into the theatrical world.
Otani Oniji – Toshusai Sharaku 1794
Tsukioka Yoshitoshi (1839 – 1892)
Tsukioka Yoshitoshi is regarded as the last great master of Ukiyo-e, Yoshitoshi is known for his dynamic and sometimes dark imagery. Active in the late 19th century, his work often featured historical scenes, folklore, and supernatural subjects. Yoshitoshi’s bold compositions and expressive style reflected both a reverence for traditional themes and a response to the rapid modernisation of Japan, leaving a lasting impact on the art form.
Yoshitoshi’s Courageous Warriors
– Yoshitoshi Tsukioka
Other Notable Artists
Suzuki Harunobu: Pioneered full-colour printing with the development of nishiki-e (錦絵), or “brocade pictures,” in the 1760s. Harunobu’s innovation involved using multiple woodblocks for different colours, allowing for more intricate and vibrant prints. He is renowned for his delicate and refined depictions of urban life, poetic themes, and graceful women, contributing significantly to the evolution of Ukiyo-e.
Contemporary Figures in Japanese Woodblock Printing
The tradition of woodblock printing thrives today through the efforts of contemporary artists who blend historical techniques with modern creativity.
David Bull (b. 1951)
David Bull is a woodblock printmaker and publisher devoted to preserving traditional Japanese woodblock printing, known as Mokuhanga. Born in England, he moved to Japan in 1986 to immerse himself in this art form. At his Mokuhankan studio in Tokyo, Bull produces prints using historical methods, including reproductions of classic Ukiyo-e masterpieces and original designs that meld traditional aesthetics with contemporary themes. He also educates others through workshops and a popular YouTube channel, inspiring a global community to explore Mokuhanga.
Helen Hyde (1868–1919)
An American artist who studied in Japan, Helen Hyde played a key role in introducing Japanese woodblock techniques to Western audiences in the early 20th century. Her work serves as an important bridge between traditional Japanese methods and Western art, influencing future generations of printmakers.
Moonlight on the Viga Canal – Helen Hyde 1912
Takuji Hamanaka
Takuji Hamanaka is a Japanese-born artist based in New York who explores abstract forms through woodblock printing. Utilizing traditional techniques, he creates contemporary imagery that reflects both Eastern and Western influences, pushing the boundaries of the medium while honoring its roots.
Ayomi Yoshida
A member of the esteemed Yoshida family of artists, Ayomi Yoshida incorporates woodblock printing into installation art and large-scale works. Focusing on natural patterns like tree rings and wood grains, she connects the medium to its source material, offering a modern interpretation of traditional practices.
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Influence on Western Art
Japanese woodblock prints had a profound impact on Western art in the late 19th and early 20th centuries. The introduction of Ukiyo-e to Europe and North America led to a cultural phenomenon known as Japonisme, which significantly influenced various Western artists and art movements.
Japonisme in Europe
The term Japonisme refers to the fascination with and adoption of Japanese art and design in the West, particularly in Europe. This interest was sparked in the 1850s when Japan reopened trade with the West after more than two centuries of isolation. Japanese woodblock prints, ceramics, textiles, and other art forms began to flow into Europe, captivating artists and collectors alike.
Western artists admired several distinctive features of Japanese woodblock prints:
- Unconventional Compositions: Use of asymmetry, cropped subjects, and bold perspectives that differed from traditional Western approaches.
- Flat Colour Areas: Application of solid colours without shading, creating a sense of simplicity and clarity.
- Emphasis on Line and Pattern: Strong outlines and decorative patterns that defined forms rather than tonal modelling.
- Depiction of Everyday Life: Scenes portraying ordinary people, landscapes, and moments, which resonated with the Realist and Impressionist movements.
This exposure led to a significant shift in Western artistic practices, encouraging artists to explore new compositional techniques and subject matters.
Impact on Impressionists and Post-Impressionists
Artists such as Vincent van Gogh, Claude Monet, and Edgar Degas were profoundly influenced by Japanese aesthetics, integrating elements of Ukiyo-e into their own work.
- Vincent van Gogh: An avid collector of Japanese prints, Van Gogh admired their vibrant colours and dynamic compositions. He emulated these qualities in his paintings, such as “Portrait of Père Tanguy”, where he included Japanese prints in the background, and in his use of bold outlines and flat colour areas.
- Claude Monet: Monet’s fascination with Japanese art is evident in his series of water lilies and Japanese bridge paintings at his garden in Giverny. He adopted the Japanese emphasis on capturing fleeting moments and the effects of light and atmosphere.
- Edgar Degas: Degas incorporated Japanese compositional techniques like asymmetry and unusual viewpoints into his depictions of dancers and everyday scenes. His use of cropping and off-center subjects reflects the influence of Ukiyo-e prints.
- Mary Cassatt: An American artist associated with the Impressionists, Cassatt was inspired by Japanese prints to create works focusing on women and children, utilising flat colour planes and strong lines.
- Henri de Toulouse-Lautrec: Lautrec’s posters and prints show a clear influence from Japanese art in their bold outlines, flat colours, and striking compositions, contributing to the development of graphic design and advertising art.
Broader Influence on Art Movements
The impact of Japanese woodblock prints extended beyond individual artists to influence entire art movements:
- Art Nouveau: The movement embraced organic forms, flowing lines, and natural motifs, all reminiscent of Japanese design principles.
- Post-Impressionism: Artists like Paul Gauguin and Émile Bernard adopted simplified forms and symbolic content, drawing inspiration from the flatness and decorative qualities of Japanese prints.
- Modern Art: The emphasis on abstraction and stylisation in Japanese art encouraged Western artists to explore new artistic directions, laying groundwork for movements like Cubism and Fauvism.
Connection to Lino Printing
The techniques and aesthetics of Japanese woodblock printing also influenced Western printmaking methods, including linocut printing. Lino printing, or linocut, is a relief printing technique similar to woodblock printing but uses linoleum as the carving surface.
Artists appreciated linocut for its ease of carving compared to wood and its ability to produce bold, graphic images. The simplicity and versatility of lino printing allowed artists to experiment with design, pattern, and composition, echoing the qualities admired in Japanese prints.
For those interested in exploring lino printing techniques and how they relate to traditional printmaking, you can learn more with our guide to the lino printing process. This resource offers detailed insights into the materials, tools, and methods used in lino printing, providing a practical introduction to this accessible art form.
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Conclusion
The history of Japanese printmaking is a testament to the nation’s artistic innovation and cultural richness. From the delicate Mokuhanga techniques to the vibrant world of Ukiyo-e, woodblock printing has offered a unique lens through which to view Japanese society and landscapes. The legacy of this art form continues to inspire artists worldwide, underscoring its timeless appeal and enduring significance.
If you’re interested in exploring Japanese printmaking, why not try it yourself by purchasing a Japanese woodblock printing kit? It’s an excellent way to experience the beauty and craftsmanship of this traditional art form.
