Shin-Hanga: The softer side of Japan

Cherry and Castle — Yoshida Hiroshi (1939)
Through pinterest, I went on a little tangent and discovered something rather amazing! Someone pinned this cool Japanese print and I went foraging after it. So here goes:

After the decline of the Edo/Meiji period of Ukiyo-e woodblock prints, there came the inevitable revival in the early 20th century. This became the known as the Shin-Hanga (new print) period which flourished from 1915-1942, resuming briefly after WWII. They were designed to appeal to Western tastes giving a nostalgic, romanticised view of japan. And so, they were primarily exported overseas, never finding much fame at home. However, Shin-Hanga became immensely popular in America, so much so that there were two major exhibitions in the 30s. 

What I like most about them is the warmer colour palates and how they're just less stuffy than Edo period prints. Not to say that Hokusai and Hiroshige prints aren't absolutely beautiful or that I don't love classic Japanese prints, but there's just something about Shin-Hanga that's just softer and hard to describe ― as lame as that sounds.

For more on Shin-Hanga visit: Wikipedia, Jacquesc, and artelino.

Misty Evening At Shinobazu Pond, Tokyo — Kasamatsu Shiro (1932)
Sunset At Tomonotsu, Inland Sea — Tsuchiya Koitsu (1940)
Ueno Shinobazu Pond — Tsuchiya Koitsu (1939)
Heirinji Temple Bell — Yoshida Toshi (1951)
 Tengu Rock At Shiobara —Kawase Hasui (1950)
Red Temple — Asano Takeji (1931)
Evening Moon On Yodo River — Asano Takeji (1934)
Heirinji Temple — Kasamatsu Shiro (1962)
Summer Moon At Miyajima — Tsuchiya Koitsu (1936)

Moonlit Night At Miyajima — Kawase Hasui (1947)

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