The woodblock printing technique came from China to Japan several hundred years ago. The Japanese developed it into one of the most admired art forms in the world. The high level of Japanese woodblock artisans has been preserved until our days.
With the opening of China, a vivid cultural exchange has started around 1980 between Japan and China. In the beginning it was more of a one-way street. Chinese artists and artisans came to Japan to learn traditional woodblock printmaking. Some Japanese cultural institutions promote modern Chinese art with exhibitions in Japan and purchases of contemporary works for Japanese museums.
painting. Although Japanese
painting is a descendant of the Chinese example and,
therefore, shares many of its ideas and rules, the
accomplished painting reveals, here as there, the
attitude particular to each of the two cultures. The
uninitiated at first see what is obviously common
to both of them.
Chinese
and Japanese art and Chinese and Japanese colour
prints seem very similar and are often
confused.
No mention of Chinese colour prints was made in
Europe before 1907, while Japanese prints have
been known in the West since 1862 and have been
collected enthusiastically since that time.
Chinese paintings normally
consist of small or large colour brush strokes with-
out any dark linear contours. At most, the veins of
a leaf may be rendered in dark strokes but rarely
the outlines. It is the task of the Chinese colour
printer to copy the colours of the painted original
exactly; scarcely any other variety of colour prints
in the world is more dependent on the printer's
artistic skill than the Chinese colour print.
The old Japanese colour print, or ukiyo-e, is where the colour comes after the printing process. Its basis is a mere black-
and-white brush drawing in outline, not a painting
in the strict sense. The colours of the finished print
as a rule fill outlined areas and are rarely brush
strokes without contours. Basically, the colours are
designed after cutting the outline or key block.
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