sotatsu (6 Ergebnisse)

, Softcover/Paperback. Zustand: Sehr gut. 3. Printing. Fresh and clean copy in good condition. Sauberes und frisches Exemplar in gutem Zustand. Sotatsu, indubitably one of Japans five greatest painters, is to the world of Japanese art the same enigmatic, timeless figure that Shakespeare is to English literature. Producing some of the most forceful and influential paintings of seventeenth-century Japan, he played a decisive role in teh formation of an original, decorative, and specifically Japanese style, free of Chinese domination. Yet it is only in teh past few decades that art historians have, as in the case of El Greco rediscovered Sotatsus genius adn begun to piece together a picture of the man himself. Certainly the strength of his abstract design brings him close tot he decorative style so admired today, making him again the significant figure he formerly was." Sprache: Englisch Gewicht in Gramm: 144.

(=Serie, Nr. 92). - Mappe tls. gebräunt u. etwas ber., sonst gut (Karten: sehr gut) erhalten. - 6 Karten mit je einem Briefumschlag in Orig.-Karton-Mappe.

In-4 carré ( 305 X 245 mm ) de 24 pages, broché sous couverture ornée d'une vignette contrecollée en couleurs et à l'or. Illustrations en noir dans le texte et en couleurs contrecollées hors-texte. Très bel exemplaire. Japon Peinture Beaux-Arts.

38,5 x 27 cm. Calligraphic title and 22 woodblock prints after Tawaraya Sotatsu. Orig. boards with printed title. Covering paper of boards loose and frayed, paper to back cover torn. Lower corner of sheets a bit bumped otherwise a very good copy.

First and only edition. 22 woodcut plates printed in ink and mica and a calligraphic frontispiece. Orihon. Folio, measuring 27x38cm. Original boards (made from handmade washi paper) with printed title, some fading to top and bottom of boards, minor damage to back board. Overall still a very good copy. Kyoto, Unsodo, dated: Meiji 43 [i.e.  An extraordinary book inspired by the Rimpa-style patterns of waves painted by Tawaraya Sotatsu (c. 1570-1640) in the first half of the 17th century. Tomioka Tessai (1836-1924) a highly respected calligrapher and painter in the Chinese-inspired bunjinga tradition provided the calligraphy for the title and the frontispiece. In 1907 he was appointed official court painter to the Meiji Emperor and in 1919 became a member of the Imperial Fine Arts Academy (Teikoku Bijutsu-in) and his work was in great demand. The introductory page of Tessai's eccentric calligraphy reads "watching waves (kanto)". In many ways Sotatsu's 17th century renditions are repositioned in a decidedly modern context. The size and refinement of this book indicate that each plate was meant to be contemplated by the viewer. The different character of each plate plays with our emotions as they shift from moving to agitated to turbulent and even demonic before returning to calmer patterns.  The printers Unsodo, who were founded in 1891 and are still in business to the present day, became renowned for the high quality of their book products and prints. The book was edited by Yamada Naosaburo. Rare. Only 2 copies in OCLC.

[Kyoto 1930's, Kincho-Bo. Large sheet: 38.3 x 26.3 cm., silk gauze on stiff Washi [hand-made] paper,color woodblock print lower margin shows bold red Hanko [chop] reading, a tribute to a work after Tawara Ya Sotatsu, very clean & bright. RARE . *** *** *** . . . AN UNUSUALLY FINE EXAMPLE IN DELUXE LARGE SIZE . . . A STUNNING COLOR WOODBLOCK PRINT OVER FINE SILK GAUZE . . . A 1930'S TRIBUTE PRINT OF TAWARAYA SOTATSU DESIGN . . . A SHIN-HANGA FAN . * A tenderly colored Uchiwa [fan] print. With lovely purple- pink background with a touch of gold-flecking. The background at the bottom continues the 'wave' pattern with pastel-green. The fan is outlined in black, showing hydrangea flowers in blue with a sprig of leaves. At the lower right of the fan is a very bold red Hanko [seal or chop] with two Kanji reading Inen, Sotatsu's seal. . . In the lower margin are three sets of Japanese Kanji and Hiragana characters, from the right to left: . a. Sotatsu Hitsu: brush-painted by Sotatsu b. Center Hiragana reads: Ga Ku c. Left 3 Kanji reads Kinchobo Company, the printer & publisher. . *** UNUSUAL MEDIA: This exceptionally unusual work is not the ordinary Japanese woodblock print. What makes this highly unique is the very fine gauze-silk cloth laid down on the Torinoko Washi [hand-made] mulberry paper. . The effect is the print looks more like a painting that a traditional woodblock print. The use of gold-flecking was strictly used on special paper for paintings. There are virtually no known examples of woodblock prints using such a difficult and costly technique. . *** A TRIBUTE COLOR PRINT TO THE GREAT PAINTER & ARTIST TAWARAYA SOTATSU [?-1643?]: . Sotatsu was an early 17th century painter, and co-founder of the Rimpa School of painting. Sotatsu began to work as a fan-painter in Kyoto. Later, he rose to work for the court as a producer of fine decorated papers for calligraphy. He was highly influenced by Kyoto's courtly culture. Sotatsu met the great designer and calligrapher Hon'ami Koetsu, and painted under-designs in gold and silver for his writing. Sotatsu excelled in projects that needed careful placing of decorative screens and fans, and took this to its highest level. Quoted from WikiPedia below. . Takeshita greatly admired the artistic and composition skills of the master painter Sotatsu and the Rimpa School. He was not only artist who admired Sotatsu. Sotatsu is perhaps the single most respected and skilled artist of his time. . Takeshita created a tribute to the great artist Sotatsu and his fan paintings. Sotatsu was well-known for his excellent fan paintings, these inspired Takeshita. . *** CONDITION: This unique example is in the best of collector's condition. It is beautifully preserved, flawless as issued. The colors are beautifully executed in mutinously in perfect register, giving the impression of a real fan floating on a pastel background. . The verso is very clean, with evidence of Baren swirling rub marks, the result of rubbing the paper against the woodblocks in the printing process. This is a good sign. . The print may have been attached to a Kinchobo Company mat when published, there is very faint and mild bit of loose fibers along the upper verso edge, of little consequence or impact. . Kinchobo matted most of his prints to enhance presentation. Some came with a description, mostly in English as a separate sheet loosely tucked into the back of the print and the mat. We speculate this may have been the case for this example. . *** Please visit our website to see the photos. . *** REFERENCES: . ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, p.163 has a very long biography and article on Sotatsu. * Sotatsu:.