HASUI Japanese Woodblock Print IRIS GARDEN AT MEIJI SHRINE 1951

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HASUI Japanese Woodblock Print IRIS GARDEN AT MEIJI SHRINE 1951:
$325.00

HASUI Japanese Woodblock Print IRIS GARDEN AT MEIJI SHRINE 1951
KAWASE HASUIIris Garden at Meiji ShrineDate: 1951, published by Watanabe, this is a later edition printed from the original wood blocks
Size: oban, with full margins, 10.625\" X 15.5\"
Condition: Fine, no flaws, uncirculated print, never framed
Impression: Fine, solid key lines, nice surface texture, tight registration
Color: Fine, deep saturated color and bleed through to verso
Documentation: Kawase Hasui: The Complete Woodblock Prints, Hotei, 2003 THE MEIJI SHINTO SHRINE and its large park are dedicated to the spirit of Emperor Meiji and his wife, Empress Shoken. The reign of Emperor Meiji (1868-1912) saw Japan transformed from a medieval to a modern state. He devoted himself to increasing the prosperity and peace of the nation. As a result, Emperor Meiji was regarded as a truly great Emperor. He and Empress Shoken are not buried here, but near Kyoto. This shrine was completed by over 100,000 volunteers in 1920 in his memory. It was destroyed in an air raid in 1945 and rebuilt in the 1950s. The iris garden is considered the most beautiful in Tokyo.ABOUT KAWASE HASUI
Kawase Hasui (1883 – 1957) was a Japanese woodblock print maker in the early 20th century. He and Hiroshi Yoshida (1876-1950) are widely regarded as two of the greatest artists of the shin hanga style, and are known especially for their excellent landscape prints. During the forty years of his artistic career, Hasui worked closely with Watanabe Shozaburo (1885-1962), publisher and advocate of the shin hanga movement. His works became widely known in the West through American connoisseur Robert O. Muller (1911-2003). In 1956, he was named a Living National Treasure in Japan.

Hasui worked almost exclusively on landscape and townscape prints based on sketches he made in Tokyo and during travels around Japan. However, his prints are not merely meisho (famous places) prints that are typical of earlier ukiyo-e masters such as Hiroshige and Katsushika Hokusai (1760-1849). Hasui’s prints feature locale that are tranquil and obscure in the then-urbanizing Japan. The dreamlike quality in Hasui’s prints epitomizes a yearning for the past and a preservation of the past in the midst of rapid modernization.

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