The
technique for printing texts and images was generally similar. The obvious
differences were the volume produced when working with texts (many pages for a
single work), and the complexity of multiple colors in some images. Images in
books were almost always in monochrome (black ink only), and for a time art
prints were likewise monochrome or done in only two or three colors.
Totoya Hokkei (魚屋 北渓, 1780–1850) was a Japanese artist best known for his prints
in the ukiyo-e style.
Hokkei was one of Hokusai's
first and best-known students and worked in a variety of styles and genres and
produced a large body of work in prints, book illustrations, and paintings. His
work also appeared under the art names Aiogazono (葵園), Aoigaoka (葵岡) and Kyōsai (拱斎).
Born
Iwakubo Tatsuyuki (岩窪 辰行) in 1780 in Edo (modern
Tokyo), Hokkei was at first a
fishmonger before studying with Kanō Yōsen'in Korenobu , the head of the Kobikichō branch of
the Kanō school of painting. Later he became one of
ukiyo-e artist Hokusai's first students.
Hokkei's
earliest known work appeared about 1800 as illustrations for books of kyōka comic waka poetry, lecentious sharebon novels, and hanashibon storybooks. During his peak period in
the 1820s and 1830s he produced a large number of prints and book illustration.
Hokkei
died in 1850 at age 70. He is buried in Ryūhōji temple in Aoyama. Throughout
his life he also used the given names Hatsugorō (初五郎), and
Kin'emon (金市右衛門), and the art names Aiogazono (葵園), Aoigaoka (葵岡) and Kyōsai
(拱斎).[1] Amongst Hokkei's students are known
the names Yashima Gakutei, Nishimoto
Keisetsu (西本渓雪), Keiri (渓里), Keiyu (渓由), Keigetsu (渓月), Keishō (渓松), Keisei (渓栖), and
Keirin (渓林).
Hokkei's
work is light and simple, and shows the influence of his master Hokusai: the Famous Places from Various
Provinces series appeared
shortly after Hokusai's popular Thirty-six Views of Mount Fuji. Hokkei was an
individualistic and versatile artist who made use of a variety of approaches
and worked in styles varying from those remiscent of early ukiyo-e artist Hishikawa Moronobu to
Western-tinged methods and subjects.
In
the 1820s and 1830s Hokkei was a
prolific illustrator of surimono prints,
of which he made at least eight hundred; and of books, of which he illustrated
about a hundred, including erotica and a book of sketches called Hokkei Manga (北渓漫画) in the
manner of the Hokusai Manga.
50)
The
text or image was first drawn onto thin washi (Japanese paper), then glued face-down
onto a plank of close-grained wood, usually cherry. An incision was made along
both sides of each line or area. Wood was then chiseled away, based on the
drawing outlines. The block was inked using a brush or brushes. A flat
hand-held tool called a baren was used to press the paper against
the inked woodblock to apply the ink to the paper. The traditional baren is
made in three parts, it consists of an inner core made from bamboo leaves
twisted into a rope of varying thicknesses, the nodules thus created are what
ultimately applies the pressure to the print. This coil is contained in a disk
called an "ategawa" made from layers of very thin paper which is
glued together and wrapped in a dampened bamboo leaf, the ends of which are
then tied to create a handle. Modern printmakers have adapted this tool, and
today barens are made of aluminum with ball bearings to apply the pressure are
used; as well as less expensive plastic versions. Although the first prints
were simply one-color, with additional colors applied by hand, the development
of two registration marks carved into the blocks called "kento" were
added. The sheet of washi to be printed is placed in the kento, then lowered
onto the woodblock. This was especially helpful with the introduction of
multiple colors that had to be applied with precision over previous ink layers.
Comentarios
Publicar un comentario