BANPUDO NEWS

京版画〜＾＾

雪月花。

手が込みすぎているっかも？！

こんなのも木版画です。

＊３枚目の山桜の木版画は４２３度摺り、気が遠くなるような摺り度数です。
　（１００枚を一人で摺りあげると、半年くらいかかります。）

Snow, the moon and flowers.

It is [ whether it is also っ which is complicatedtoo much, or ] ?!.

Such is also a wood-block print.

* the wood-block print of the wild cherry tree of the 3rd sheet is printed 423 degrees,

and is mind-boggling -- print and it is frequency.

(If 100 sheets are printed alone and raised, it will start half a year.)

京版画の粋〜＾＾ （オマケ）

この画像は木版画です。

画像が自前なので、解ってもらえるっかな？

京都の工房仕事です。


This picture is a wood-block print.

since the picture is own account, is it which I have understood?

It is studio work of Kyoto.

東京摺り と 京都摺り （追記、画像）

日本の水性木版画は、浮世絵で世界的に有名だけれど〜

摺りでいうと、東京摺りと京都摺りで少し違いがあります。

東京は浮世絵の伝統、京都は扇子の絵付けの伝統。

浮世絵は基本的に透明水彩を使い、力をいれて摺り、絵の具を和紙に吸い込ませて発色させる。

京都の扇子の絵付けは、不透明水彩を使い、力をあまり入れずに絵の具を和紙の上に乗せるように摺る。

今の器用な摺り師は、版画によって使い分ける。


＊東京の浮世絵は、江戸の粋を表現したもの。

＊京都の扇子の上絵は、京都の”はんなり”を表現したもの。


Although the Japanese water wood-block print is globally famous for ukiyoe.

if it prints, comes out and says, there is a a few difference with the technology which Tokyo

prints, and the technology which Kyoto prints.

Tokyo is the tradition of ukiyoe and Kyoto is the tradition of painting of a fan.

Ukiyoe uses a transparent watercolor painting fundamentally, and puts in and prints power,

it makes Japanese paper inhale paints and they are made to color to it.

Painting of the fan of Kyoto uses an opaque watercolor painting, and it prints it so that

paints may be put on Japanese paper, without seldom putting in power.

The present dexterous printer uses properly with a print.

* The ukiyoe of Tokyo is a thing expressing the essence of Edo.

* The dyed figures on cloth of the fan of Kyoto are the things expressing "Hannari" of Kyoto.

蔵書票

以前〜数年間にわたりやった蔵書票の仕事です。

下絵を参考に〜少しアレンジして制作しました。

この蔵書票は実際に使うっていうより、額に入れて楽しむモノです。


２、船越　桂　　　　http://ja.wikipedia.org/wiki/%E8%88%9F%E8%B6%8A%E6%A1%82

３、隈　研吾　　　　http://ja.wikipedia.org/wiki/%E9%9A%88%E7%A0%94%E5%90%BE

４、宇野　亜喜良　　http://ja.wikipedia.org/wiki/%E5%AE%87%E9%87%8E%E4%BA%9C%E5%96%9C%E8%89%AF



It is work of the bookplate before given over several years.

The sketch was arranged for a while in reference, and was made to it.

This bookplate is the monochrome which puts into a frame and is enjoyed rather than it

actually uses.

神坂 雪佳

５年くらい前の或る日、取引先の出版社で突然に版画集を見せてもらいました。

”百々世草”（１９０９〜１９１０刊、６０点）というタイトルの３冊からなる版画集でした。

初めて見る木版画だったけど、ハイレベルな版画集だったので作者を聞きました。

でも、知らない名前（神坂　雪佳）だったので、不思議な気分でした。

後で調べたら、作者が生存中は有名だったけど、日本では〜時間の経過で忘れ去られたようです。

神坂　雪佳　http://m9pasoken.hp.infoseek.co.jp/sub81.html

　　　　　　http://ja.wikipedia.org/wiki/%E7%A5%9E%E5%9D%82%E9%9B%AA%E4%BD%B3


I had the collection of prints suddenly shown by a customer's publishing company one day

[ last ] for about five years.

It was a collection of prints which consists of three volumes of the title "Momoyo gusa"

Although it was a wood-block print begun and seen, since it was a high-level collection of

prints, the author was heard.

But since it was a name (Sekka　Kamisaka) which is not known, it was a wonderful feeling.

It seems that I was away forgotten in progress of time in Japan although it was famous while

the author survived when investigating later.