京版画 京都木版画工芸組合

* 1
  1. 竹中健司「Junko」。


The origin of the Kyo-hanga (woodblock prints from Kyoto) can be traced to the introduction of Buddhism from Baekje (Korea) in the Asuka period (mid-6th century). Woodblocks were originally used for printing sutras attached to Buddhist images. Afterwards, woodblock printing continued to be employed mostly for Buddhist publications, but starting in the Edo period (17th century), secular use became common with the rise of urban culture. Multicolored printing technique was made possible by a unique Japanese method of collaboration between painters, engravers, and printers. Ukiyo-e woodblock prints, in particular, became extremely popular and spread to Europe in the Meiji era (19th century), having a great influence on Western artists. Kyoto remained the center of art and culture even after the capital moved to Edo (renamed Tokyo), and the exquisite prints based on sketches by Kyoto’s outstanding painters were admired throughout the country. These techniques have been passed down to today, and original art works continue to be created. Woodblock printing has also influenced the design of familiar items such as book covers, message cards and wrapping paper.

* 2
* 3
* 4
* 5
  1. : 竹中健司「Nyoigatake」。
  2. : 竹中健司「東寺」。
  3. : 明治時代から昭和初期にかけて京都で活躍した画家、神坂雪佳「百合」。
  4. : 神坂雪佳「萩」。

(1,2,3,4,5 すべて有限会社竹笹堂 ※4,5の作品の版木は「京うちわ阿以波」に伝わるもの。摺りは竹笹堂による。)

1: Junko by Kenji Takenaka. 2: Nyoigatake by Kenji Takenaka 3: Toji by Kenji Takenaka 4: Yuri by Sekka Kamisaka, a painter who was active in Kyoto from the Meiji to the early Showa era. 5: Hagi by Sekka Kamisaka. (1,2,3,4,5 Takezasado. The woodblocks 4,5 are transmitted to "Kyo Uchiwa Aiba". Printed by Takezasado.)