Son of a Samurai in Service of a lord of Kii Province” Tokaido Gojusantsugi: Shono Hakuu (Fifty-Three Stations of the Tokaido: White Rain at Shono) Ichikawa Omezo no Yakko Ippei (Ichikawa Omezo as Yakko Ippei) Fuji: Pleasant Winds, Fine Weather)įugaku Sanjurokkei: Fukagawa Mannenbashi Shita (Thirty-Six Views of Mt. Katsushika Hokusai (1760-1849): Fugaku Sanjurokkei: Gaifu Kaisei (Thirty-Six Views of Mt. "Fujin Tewaza Ayatsuri Kagami: Sentaku" (Model Images of Women at Work: Laundry) "Bidoro o Fuku Musume" (Woman Blowing a Vidro) "Sugatami Shichinin Kesho" (Seven Women )Applying Make-up in the Mirror) c.
“’Decadent" bijin print style of the Bunka (1804-1817) and early Bunsei Periods.”’. The rarely noticed or hidden becomes elevated to the sacred.Japanese Woodblock Prints A Gallery of Images The significance of protection is stimulated. Creating a sense of stillness and peace and shelter……the journey awakens you to the vulnerability of our natural spaces. I take you to a secret place that you can experience and will want to know personally. Primarily showing wilderness landscapes and waterscapes and having the four seasons of imagery at my disposal, it is a joy to showcase the beauty, diverse ecology, geography and healing value of our world through my prints. The emotional, physical and spiritual energy I use to create a print somehow becomes imbedded within it to reveal the heart and spirit of a location. This exploration of forms within a space creates a deeper, intimate encounter with nature. Carving individual wood blocks for each color in the print, isolated profiles are separated and then joined again. The process is quiet, calming and meditative. The spiritual connection that I find in the creation of the print is extremely important to me. I am an environmental artist working exclusively in the water-based Japanese art of moku hanga – woodblock print. Frustrating! But we finally got paper from differentīelow are 4 prints all on different papers - 3 handmade Japanese and one machine made Korean. Given that knowledge before hand I know we would have purchased paper in Tokyo to take with us to Kawaguchi-ko.Īs someone used to the western "fast-food-get-it-now" culture it was Everything came from either Tokyo or somewhere else. If there were suppliers there, or even any art suppliers there, we never found them. We didn't realize how difficult it would be to get at Kawaguchi-ko. The opportunity to test different papers while at MI-Lab was something we all wanted to do. I personally don't like a white white paper and prefer more natural color. And we all like different characteristics in a paper. There are so many different weights, sizes, paper makers. I think one of the hardest things for a mokuhanga artist is finding the right paper. 
We need to reach with everything we have toward the sun and harness the energy given by it instead of digging into the deep places where what we do is hidden from the light. Hold on tight against the winds that conspire to fell us. We need to stand tall, like these giant trees. Yet they maim the land gaining access and then poison the groundwaters that flow into the streams, rivers and the largest source of fresh water on earth! They don't think about the consequences to the next generations that can never repair their damage. And look at all the jobs they will create! Goodness! We should all embrace their compassion for us! They put forth the argument that they are not disturbing the Park - we can still hike the trails and enjoy the wildlife and views above ground. Lands that WE, the taxpayers own! The moves recently to go under these lands, searching for oil, gas, minerals. What troubles me is how big business and government love to worm around the protection placed on our public lands. Today, without the protection of the Park, all kinds of machinery would be moved in and fell them with no problem. The trees were deemed too difficult to get to and fell back in the day and so were left.
0 kommentar(er)
