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Gyotaku (魚拓, from gyo "fish" + taku "stone impression", fish print(ing)) is the traditional Japanese method of printing fish, a practice which dates back to the mid-1800s. This form of nature printing , where ink is applied to a fish which is then pressed onto paper, was used by fishermen to record their catches, but has also become an art ...
The Hōeidō edition of the Tōkaidō is Hiroshige's best known work, and the best sold ever ukiyo-e Japanese prints. [2] Coming just after Hokusai 's Thirty-six Views of Mount Fuji series, it established this new major theme of ukiyo-e , the landscape print, or fūkei-ga , with a special focus on "famous views".
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 ...
Many of Yoshitoshi's prints of the 1860s are depictions of graphic violence and death. These themes were partly inspired by the death of Yoshitoshi's father in 1863 and by the lawlessness and violence of the Japan surrounding him, which was simultaneously experiencing the breakdown of the feudal system imposed by the Tokugawa shogunate, as well as the effect of contact with Westerners.
Mandarake Inc. (Japanese: まんだらけ) is a Japanese retail corporation that operates a chain of used good stores. Founded as a used bookstore specializing in manga in 1980, Mandarake incorporated in 1987 and currently operates 11 retail locations and one fulfillment center.
Toyohara Kunichika (Japanese: 豊原 国周; 30 June 1835 – 1 July 1900) was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada.
Ohara Koson, around the age of 53. Ohara Koson (also Ohara Hōson, Ohara Shōson) (Kanazawa 1877 – Tokyo 1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, at the forefront of shinsaku-hanga and shin-hanga art movements.
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