From the series “In Praise of the Guardian Goddesses of the Four Cardinal Points.” One of a set of prints depicting the guardian deities of the East. An exquisite lithograph produced on a very textural Japanese ‘washi’ paper, published by Yasukawa as part of their collaborative calendar project.
Dimensions: 31 x 39 cm approx. Original Printing Date: 1959 (lithograph printed 2017) Medium: Lithograph
Shiko Munakata (1903-1975) was a Japanese artist, world-renowned for his woodblock prints and his role in popularising both the shin-hanga and mingei movements in the West. Munakata’s distinctive and harsh take on print making gained worldwide attention in the mid 20th Century: in the Eastern World, this was a result of his departure from more traditional production techniques whilst still maintaining the cultural subject matter of Buddha, flowers and similar everyday imagery. Whereas in the West, the prints were produced in a style not too dissimilar from the European abstract and modernist artists, which in turn gained Munakata the nickname of ‘Japanese Picasso.’ One can easily see the similarties between the two artists.
An interesting observation is noticing that Picasso and his French peers were influenced by the work of the earlier Japanese printmakers, notably Hokusai, which in turn influenced Munakata; the influence really travelled full circle within artistic circles in the 19th and 20thcenturies.
Suzaku and Genbu by Shiko Munakata
£65.00
From the series “In Praise of the Guardian Goddesses of the Four Cardinal Points.” One of a set of prints depicting the guardian deities of the East. An exquisite lithograph produced on a very textural Japanese ‘washi’ paper, published by Yasukawa as part of their collaborative calendar project.
Dimensions: 31 x 39 cm approx.
Original Printing Date: 1959 (lithograph printed 2017)
Medium: Lithograph
Description
Shikō Munakata 棟方 志功
Shiko Munakata (1903-1975) was a Japanese artist, world-renowned for his woodblock prints and his role in popularising both the shin-hanga and mingei movements in the West. Munakata’s distinctive and harsh take on print making gained worldwide attention in the mid 20th Century: in the Eastern World, this was a result of his departure from more traditional production techniques whilst still maintaining the cultural subject matter of Buddha, flowers and similar everyday imagery. Whereas in the West, the prints were produced in a style not too dissimilar from the European abstract and modernist artists, which in turn gained Munakata the nickname of ‘Japanese Picasso.’ One can easily see the similarties between the two artists.
An interesting observation is noticing that Picasso and his French peers were influenced by the work of the earlier Japanese printmakers, notably Hokusai, which in turn influenced Munakata; the influence really travelled full circle within artistic circles in the 19th and 20thcenturies.
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