Antique Hokusai 19th Century Woodblock Print Samurai Bushidō Tattoo Art Ukiyo-e
This item has been shown 40 times.
Antique Hokusai 19th Century Woodblock Print Samurai Bushidō Tattoo Art Ukiyo-e:
Katsushika Hokusai’s Ehon Sakigaké (Chinese and Japanese Warriors)
Authentic, antique, Meiji Era bookplate from Katsushika Hokusai’s folkloric depictions of magical and mythical depictions of samurai warriors, creatures and deities.
This bookplate is from a mid Meji Era printing.
REALLY EXCELLENT IMPRESSION. Printed on thick, cream-colored, hand-made mulberry paper. The woodblocks have lost none of their sharpness. The contrasty, loaded ink printing, is very stunning. Hokusai’s compositions are incredibly dynamic, losing none of their virtue in this Meiji Era printing.
IMPECCABLE STATE OF PRESERVATION FOR BEING NEARLY 140 YEARS OLD. No worm damage, thumb prints or major stains.
Bookplates from this volume are a dramatic representation of the strongest heroes and most powerful warriors. Executed with the greatest of skill, as only Hokusai could do. Bookplates from this volume, no matter the condition or vintage, are S C A R C E. Scenes in the volume show a number of Japanese and Chinese heroes as they struggle to suppress evil and encounter overwhelmingly robust and fierce opponents. Toki Kintaro struggled with a giant bronze-casted Buddhist temple Bell; other heroes struggle and fight with Inoshishi [wild boar]; tiger; suppressing a great wild stallion and huge spider; a giant dragon-snake; devils; Sumo; butchering one’s enemy; haunted by living Yurei ghost; ogres; Fu-dog, and one blood-curdling scene of a person holding a newborn baby by the feet over a boiling cauldron, the blood flowing into the “soup” while a colleague looks on in delight; Buddhist saints and Goddess; a seeker of salvation finding refuge and Nirvana under a freezing cold waterfall in fervent prayer; suffering a barrage of arrows and assailants, etc.
From edge to edge each leaf measures approx. 6 x 9.5 inches. In total approx. 6 x 13 inches.
Several facts regarding hand-made washi paper:
Washi, being that it is hand-made paper, occasionally has large brown fibers or other materials entering the water and paper vats used in production, so that a grain of sand may cause a tiny hole, bump or other imperfection. This is of course not a misprint or damage and should never be looked upon as a major detraction. As well, tone, texture and thickness varies a lot when printing on hand-made paper, made by farmers in the winter.
Finally, printmakers of that time were not obsessive about the uniformity of each individual sheet of paper. Must have been something in the zen.
A bit of friendly advice on matting bookplate diptych prints before framing:
All bookplates that I have up for sale haven’t been butchered down the center seam waiting to be pieced together. Since these images were never intended to be assembled as a single print no attempt has been made to do so. Personally, and for justifiable aesthetic reasons, I prefer to mat bookplate diptychs with a half inch or 1.2 centimeter space left between the two separate panels. It is also more archival, saving the print from harmful and messy taping or glueing at the seam. If you do attempt this, you may find that the two halves don’t even line up from top to bottom (end result—you’ll be wearing a suit from a tailor who’s not paid the dues). Remember, once this action is done it can’t be undone. When considering the fact that the art is forever fresh and alive as it is, what reason is there to meddle with it by reassembling it to your particular preferences (hubris perhaps?). Just a bit of friendly advise, but as always, I leave such matters to the discretion of the buyer.On Jun-02-20 at 10:30:05 PDT, seller added the following information:
BENKEI DRAGGING THE MIIDERA BELL
For reference, see in a similar example of this motif by Kuniyoshi – final photo.