Woodblock Prints Research Articles

Historical Development and Artistic Characteristics of Foshan Woodblock Prints

Historical Development and Artistic Characteristics of Foshan Woodblock Prints

Research on animation design of woodblock print characters based on audience aesthetic differences

Traditional woodblock prints are a kind of Chinese folk traditional painting art, with a long history and unique artistic style. It has a long history and unique artistic style. The richness of its themes and wide range of applications cover many aspects such as New Year festivals, wedding banquets and birthday celebrations, religious rituals and lanterns and toys. The wide range of themes and wide range of applications of woodblock prints creates a rich and colourful connotation, especially traditional stories and character images, which constitute an important part of the woodblock prints, there are very rich story resources and character resources in the woodblock prints for animation creators to refer to, different creators of woodblock prints have different understandings and re-designs, and the audience has mixed feelings about the effect of character design. With the development of modern animation production technology and the increasing attention to traditional culture, more and more practitioners have begun to explore the animation of story characters in the non-heritage culture, and this paper aims to explore the feasible path of animation of the elements in woodblock prints under the aesthetic differences.

Manufactured Goods on Display: Japanese Woodblock Prints at the National Industrial Exhibitions of 1877 and 1881

Abstract This article examines the presence of Japanese woodblock prints within the context of state-sponsored exhibitions during the Meiji era (1868–1912). Although the Meiji government organized five National Industrial Exhibitions at irregular intervals, woodblock prints were exclusively showcased at those organized in 1877 and 1881. This article identifies the woodblock prints wherever possible, and addresses questions relating to their role in advancing (Western) exhibition culture, the emergence of modern education, and the growing concern over the impact of popular prints on the future and the reputation of Japanese fine and decorative art.

Genetic visualization of cultural heritage: A case study of Zhuxian Town woodblock prints

Using genetic visualization technology to effectively convey cultural information plays an important role in preserving cultural heritage. The key to preserving and developing cultural ecology levels is employing visualization methods and a strategic approach. A valuable tool for conservation, restoration, and cultural gene inheritance, this process involves collecting and processing heritage data. Chinese cultural heritage will be safeguarded, communicated, and promoted using cultural genetic visualization techniques. This technique has the potential to preserve tangible heritage, as demonstrated by Zhuxian Town Woodblock New Year prints. By visualizing and preserving China’s cultural heritage, the results contribute to understanding and engagement with its diverse culture. Heritage can be protected and added value to future generations through cultural genetic visualization techniques.

Study on the Application of Traditional Elements in Modern Paint in Chinese New Year Wood-block Paint

The paper discusses the application of traditional elements in woodblock prints in contemporary painting as well as the difficulties and optimization strategies. Firstly, the probability and current situation of the combination of traditional elements and modern aesthetics are described, and then many problems such as the block of traditional culture, the test of contemporary conversion, and its theoretical and practical derailment appear in the practical activities of contemporary painting are elaborated. In response to the above problems, enhancement strategies are given such as upgrading traditional culture and education, promoting innovation and integration, and strengthening the integration of theory and practice. The paper hopes to promote the effective use and inheritance of traditional elements of woodblock prints in contemporary painting and development through in-depth research and practical exploration, providing new ideas and design inspiration for artistic creation in China.

Study on the Influence of Chinese New Year wood-block Print on the Technique and Style of Chinese Print

The article discusses the influence of Chinese woodblock prints on the techniques and styles of Chinese paintings, and analyzes the main problems existing in the current influence, including the challenges of inheritance faults and loss of skills, insufficient innovation and homogenization, as well as cultural identity and market acceptance. In response to these problems, the paper proposes corresponding optimization countermeasures, including strengthening the combination of inheritance and innovation, promoting cross-border integration and exchange, and strengthening cultural identity and market expansion. Through the implementation of these countermeasures, it aims to promote the inheritance and development of Chinese woodblock prints in contemporary society, as well as to deepen its positive influence on the techniques and styles of Chinese paintings, and to contribute to the inheritance and innovation of the excellent traditional Chinese culture.

A Brief Discussion on the Development and Inheritance of Chinese Woodblock Printing Art

Chinese woodblock printing art, as an ancient art form, carries the long history and profound cultural heritage of the Chinese nation. From the emergence of woodblock printing technology in the Tang Dynasty, to the prosperity of the Song and Yuan Dynasties, and then to the diversified development of the Ming and Qing Dynasties, woodblock printing not only witnessed the changes in Chinese society, but also reflected the aesthetic tastes and spiritual pursuits of people in different historical periods. Since modern times, woodblock prints have continuously integrated new artistic concepts and techniques while inheriting tradition, showcasing a unique style of the times. However, in the era of globalization and modernization, this traditional art form faces challenges in inheritance and innovation.

The Artistic Philosophy and Cultural Connotation of Printmaking Technology — Taking Woodblock Prints as an Example

In the course of historical development, Chinese woodcut has developed its own unique artistic style through inheritance, absorption and gradual development. Woodcut is a trend in the development of contemporary diversified art. Its historical development and inheritance is not only the unique spiritual wealth of Chinese traditional culture, but also an important issue that the Chinese art world must face squarely. In the future development, Chinese woodcut prints should adhere to the excellent tradition and be applied in combination with the development of the new era.

Research and Analysis of Woodblock Printing Ink from the Qing Dynasty Used in the Shuyede Press of Shandong

Archival writing material is an important carrier to record and reflect archival content, and its material and durability are closely related to the life of archives. The “Shuyede” press in Shandong Province, which originated in the reign of Kangxi (1662 AD–1722 AD) in the Qing dynasty, printed many important archives and ancient books of the Qing dynasty (1644 AD–1911 AD). In order to explore the material composition of woodblock printing ink from the Shuyede press, modern analytical and detection techniques such as scanning electron microscopy–energy-dispersive spectrometry (SEM-EDS), Fourier-transform infrared spectroscopy (FTIR), gas chromatography–mass spectrometry (GC/MS), and pyrolysis gas chromatography–mass spectrometry (Py-GC/MS) were applied for the analysis and identification of the ink on woodblock plates from the Shuyede press. The results showed that two kinds of printing ink—pine soot ink and oil soot ink—used were in these woodblocks from the Shuyede press in the Qing dynasty in the collection of Shandong Museum, and the binding material in the ink was animal glue, indicating that both pine and oil soot inks were used as printing ink in the Qing dynasty.

Memory and whaling: Commemorations of whale deaths in early modern Japan

Encounters with whales in early modern (seventeenth- to nineteenth-century) Japan were often memorialized through artwork such as scrolls or woodblock prints, permanent monuments such as steles or grave sites, and even in ritual practices such as annual Buddhist memorial ceremonies. Whaling groups used the commemorations of their interactions with whales to teach hunting techniques, display their prowess to outsiders, and atone for the Buddhist sin of killing another living creature. Non-whaling communities, which usually encountered whales through limited beachings or strandings, also found those situations worthy of commemoration. Their memorials celebrated the spectacle of the whale from the observer's viewpoint, or expressed gratitude for the financial windfall the dead whale brought to the community. This article examines how a community's relationship to whaling determined how it memorialized the encounter. These early modern memorial practices inform commemorations of whales even to the present day.

Differentiation of pine and oil‐based soots in East Asian inks using Raman spectroscopy

AbstractEast Asian inks are a major component of calligraphy, paintings, and prints in China, Japan, and Korea and are historically made from either pine soot or oil‐lamp soot mixed with a proteinaceous binder. Although the inks from the two different soot sources have different properties in East Asian works of art, no non‐destructive methods to differentiate them scientifically currently exist. Raman spectroscopy (RS) of carbonaceous materials is commonly used to extract information about their properties and has been applied here to East Asian inks. Soots used in making modern inks were collected from 10 sources in China and Japan and analyzed using RS. RS using 405‐, 633‐, and 785‐nm excitation has been able to differentiate pine soot from oil‐lamp soot, also called lampblack. In addition, principal component analysis (PCA) of only 785‐nm Raman spectra has been able to discriminate between two different soots used in a 19th‐century Japanese woodblock printing of Kaishien Gaden. In addition to allowing discrimination between inks on East Asian works of art, these results may be of use to other fields using carbonaceous materials.

Aging-Related Changes of the Historical Japanese Beauty, Ono no Komachi (, 825-900 AD).

The aim of this study was to determine how the aging-related changes of a beautiful woman were described in Japanese literature. A poem written by Ono no Komachi was reviewed. Images of her were also searched through Google search. Komachi's poem in Hyakunin Isshu reads: "How the color has faded from the flowers. As I gaze in reverie at the falling rain, I find my beauty, too, has fallen in this world's esteem." Tamatsukuri Komachiko's Death Book describes: "She became thin and looked tired. Her hair looks like a lotus with frost. Her skin resembles a frozen pear. Her bones stick out and her tendons are visible. Her face is dark, and her teeth are yellow". Color woodblock print shows an old woman: She retains her intelligence and beauty even in her advanced years. Her posture was stooped, with a pronounced forward curvature of the spine, resulting as "turtle neck." Her hair was long and gray. Visible signs of aging included forehead wrinkles, crow's feet, deepened nasolabial folds, and marionette lines. Her upper jaw appeared retracted, a "witch's chin." She exhibited neck wrinkles as well as on her hands and wrists, which grasped a bamboo walking stick. Her eyes were sunken, accompanied by a drooping of the upper eyelids. We think that the narrative of her transformation into an ugly and poor woman was intended to convey to men the fleeting nature of women's beauty, and to women that the power of beauty is not ultimately of major significance.

Transmission of Non-Legacy Classics and Renewal of Culture: A Survey and Analysis of Woodblock Prints in Zhuxian Town

Henan Zhuxianzhen woodblock prints is the originator of Chinese woodblock prints and a treasure of Chinese classic traditional culture, which not only carries the reverence and praise of generations of Kaifeng craftsmen for woodblock prints, but also carries the deep historical memory and rich cultural connotation of the Chinese nation. However, the protection and inheritance of non-heritage work is not an overnight thing, through the publicity and promotion of Zhuxianzhen woodblock prints, can enhance public awareness and understanding of non-heritage culture, and improve the cultural consciousness and cultural self-confidence of the whole society. This paper will mainly focus on the inheritance and protection of Zhuxianzhen woodblock prints and the current situation of the cultural development of the market situation of the two aspects of the analysis and research, and at the same time for the problems existing at this stage of the proposal has a strong focus on the resolution of the measures.

Revitalization of Zhangzhou Woodblock New Year Paintings: A Fusion of Cultural Heritage and Interactive Narrative in the Era of Internet+

The paper concentrates on the historical and practical importance of the well-known Zhangzhou woodblock new year paintings by applying the literary analysis method. Zhangzhou woodblock new year paintings are an essential component of the region's cultural legacy, despite their decrease due to many factors. They are nevertheless highly valuable cultural artifacts. This article aims to promote public awareness and knowledge of traditional culture by offering creative ideas and strategies for the design and promotion of Zhangzhou woodblock prints as culturally creative products. Zhangzhou woodblock prints are a dynamic, customizable art form that can be tailored to the tastes of the user, and they are made easier to exhibit and distribute with the use of Internet technology. Zhangzhou woodblock new year paintings can combine tradition and modernity to promote and expand, explore the combination of traditional culture and modern technology, and enhance the influence of Zhangzhou woodblock new year paintings in contemporary society. The key to the sustainable development of the cultural industry lies in further exploring and integrating interactive narratives in cultural products. The combination of internet technology and interactive narrative can inject new vigour and creativity into Zhangzhou woodblock prints, while also paving new paths for the sustainable development of the cultural industry.

Боротьба сумо крізь призму мистецтва: культурно-історичний аналіз

Purpose: based on the analysis of scientific sources, to identify the peculiarities of the reflection of sumo wrestling in various types of Japanese fine arts and to reveal its role in the formation and expression of the national identity of the Japanese. Material and methods. To solve the research tasks, the following methods were used: historical and cultural analysis - to study the origin and development of sumo wrestling as a cultural phenomenon; art historical analysis - to identify the specifics of sumo reflection in various art forms; iconographic analysis - to study plots, motifs, artistic images related to sumo wrestling. Results: based on the analysis of scientific and methodological information and Internet sources, it was found that sumo wrestling is a unique and distinctive Japanese sport with a long history. It is an integral part of Japanese culture and has a deep cultural and symbolic meaning. Images of sumo wrestlers are often found in various forms of Japanese art - painting, graphics, sculpture, etc. However, a comprehensive study of the reflection of the theme of sumo wrestling in art has not been conducted before. The study of the peculiarities of the depiction of sumo wrestling in art will allow us to better understand not only the sport itself, but also the peculiarities of the worldview and aesthetic preferences of the Japanese people. An in- depth study of the cultural history of sumo through the prism of art will help to present the uniqueness and value of this tradition more clearly. This may interest young people and encourage them to take up sumo wrestling, while the images of legendary sumo wrestlers in painting and sculpture will inspire young athletes to reach the same heights of skill. Conclusions. A study of scientific sources has shown that the topic of sumo wrestling in Japanese fine art is not sufficiently covered. Sumo wrestling has deep cultural roots and symbolic meaning in Japan. Its images can be traced in art from ancient times to the present day. The analysis of works of fine art allows us to trace the evolution of ideas about sumo wrestling and its place in the national culture. Starting from the Kofun period, haniwa figurines depicting wrestlers performed an apotropaic function, scaring away evil spirits. In the Edo period, with the development of ukiyo-e prints, sumo wrestling became a popular theme in the work of leading artists. The images of legendary champions and dramatic scenes of fights attracted viewers. Wrestlers embodied the national ideal of courage and strength. In modern times, artists continue the tradition of depicting sumo, paying tribute to the cultural heritage of Japan. Keywords: sumo, ukiyo-e, print, fine art, haniwa, Edo period, ryokshi, Japan, woodblock print, netsuke, martial arts.

Looking forward via historic travel and looking back via heritage tourism: an analysis of roads, mobility and imagination of place along the Tōkaidō Road in Edo Period, Japan

ABSTRACT The Tōkaidō Road was the legendary highway constructed during the Edo period (1603–1868) in Japan connecting Edo, the home of the shogun, to Kyoto, the home of the emperor. Along the route were 53 post-stations (shuku) or towns catering to all manner of travellers from the daimyō (lords) and their great processions to pilgrims and later, lay travellers. Publication of period guidebooks, fictional journeys and the woodblock prints of artists like Hiroshige inspired increasing numbers of travellers who looked forward to adventures along the Tōkaidō Road. The heritage of the Tōkaidō Road today remains in the forms of signposts, markers, check points and preserved Edo towns visited by contemporary tourists. This paper examines historical travel along the Tōkaidō through Edo-era literature and art in the context of roads, mobility and imageries of place. Site visits to the preserved post-station of Seki and the reconstructed checkpoint at Hakone explore contemporary heritage tourism offering a nostalgic look back in time to Edo, Japan. Looking forward from the past through historic travel and looking back from the present via heritage tourism reveals the timelessness and popularity of the Tōkaidō Road.

Research on Ecological Innovation and Modern Informatization Inheritance Path of Tantou Woodblock Printing

Abstract Tantou woodblock prints are traditional Chinese woodblock prints with a long history. Adding modern information technology elements to the excellent traditional culture can better combine regional contemporary woodblock prints and realize the cultural heritage. In this paper, from the perspective of modern informatization inheritance, we propose a way of displaying Tantou woodblock prints with AR enhancement technology, which breaks the limitation of physical experience with the help of virtual technology and improves the immersive experience of Tantou woodblock prints by combining with visual SLAM spatial localization technology. Based on the KANO model, the inheritance effect of Tantou woodblock prints was empirically analyzed. The data of Q, A, I, R, M, and O of the satisfaction results of the experience effect of Tantou woodblock prints were 1.132, 3.034, 2.828, 1.422, 1.237, and 0.978, which belonged to the excitatory type of demand. The inheritance satisfaction could be improved by enhancing the natural experience effect. The percentage of experiencers’ satisfaction with the information acquisition rate of Tantou Wooden Plank New Year’s Paintings that reaches excellent and above is 82.35%, and this paper effectively captures the user’s experience point in the visual, which contributes to the inheritance of Tantou Wooden Plank New Year’s Paintings.

『晉陽聯藁』의 문헌학적 연구

This paper is a philological review on Jinyangyeongo of Jinyang Ha family. Jinyangyeongo has been first published in woodblock print at Haeinsa in 1609, and, it is covering Songheon Ha Jeup(1303~1380), Koheon Ha Yoonwon(1322~1376), Mokong Ha Jajong(1350~1433), Kyungjae Ha Yeon(1376~1453) and Yeondang Ha Woomyung(1413~1493) in order. The complier of Jinyangyeongo is Ha Hon(1548~1620). Jinyangyeongo, like the general Sego, was compiled for the purpose of preventing the loss of the literary works of the ancestors. However, it is notable in that it was published in an early period, and that royal person, Gyeongsang-do provincial governors, Gyeongsang-do county governors, and Dongnae county governors were involved in its publication. Although Jinyangyeongo was revised in 1859 and 1907, the composition and content are almost the same. Therefore, this study focuses on the compilation characteristics and publication history of the first edition.
 First, by examining the composition and compilation background of the first edition, it was confirmed that Jinyangyeongo was published with the intention of improving the status of the family by aligning with Jinyang- hassisebo. Next, it was confirmed that traces of ancestors were collected from various documents in addition to the poems which was mostly commended. Representative examples include Jinsansego, Pilwonjapgi, Haedongmyeongjeok, and Donggukyeojiseungram. In particular, it adopted the composition method of Jinsansego, and collected the calligraphies in Haedongmyeongjeok, which is a feature that cannot be found in Sego of the same period.
 In addition, by revealing the relationship between each person who participated in the publication and the compiler, it was confirmed that the publication method of Jinyangyeongo was quite different from the general case of publishing a collection of literary works. Also, the location of Haeinsa is noteworthy, and the fact that Jinyangyeongo was published confirms that Haeinsa was used as a publishing base for the Nammyeong School before Deokcheonseowon was royally chartered in 1609. Lastly, this study includes review of the process to create a complete Sego, by founding clues showing that the first edition was revised several times. The above details have certain philological significance in that they allow us to confirm in detail one aspect of the Sego in the mid-Joseon Dynasty.

에도 시대 출판 이미지 속 여성과 차

This study examines images of women’s tea practice (chanoyu) found in Edo-period woodblock prints such as ukiyo-e and educational books, with a focus on its social and cultural meaning. As a social gathering men’s tea practice is often represented with an emphasis on the scene in which guests come together, drink tea, and socialize. Scenes of women’s tea practice in ukiyo-e prints, on the other hand, mostly depict the image of a woman who is making tea (temae) by herself and highlight her tea utensils. This paper maintains that such variation originates from different social expectation towards tea practices of men and women. It was educational books for women (jokunsho), in particular, that influenced the formation of the discourses on women and their tea practice in the Edo period. Jokunsho presented that by learning temae procedures for chanoyu women were able to acquire manner and etiquette, which were necessary in cultivating genteel femininity. This essay argues that women’s temae scenes depicted in ukiyo-e reflect the social awareness of women’s tea practice, which was encouraged by educational books.

Woodblock Printing and Cultural Dissemination

Printing has played an unparalleled key role in the transmission of culture and the advancement of human civilization. The woodblock printing technology of China during the Sui and Tang periods ignited an innovation in book replication and dissemination, facilitating an enhancement in cultural production capacity and the transmission of culture. During the Song dynasty, advancements in printing technology, whether directly or indirectly, influenced global culture dissemination and the progress of civilization during its overseas transmission, marking a brilliant period in the history of ancient Chinese book publishing and distribution.