Shin-bijutsukai (set), 1896 - 1911
Bound collection of woodblock prints on paper
9-1/2’h x 6-1/2”w
(36 volumes complete set)
Further images
Shinbijutsukai,a monthly periodical design idea book, Zuancho, was published in 1902 for 15 years in 36 volumes. It was designed by Korin Furuya, supervised by Sekka Kamisaka, and published by...
Shinbijutsukai,a monthly periodical design idea book, Zuancho, was published in 1902 for 15 years in 36 volumes. It was designed by Korin Furuya, supervised by Sekka Kamisaka, and published by Unso-do
It is one of the pinnacles of Zuancho, in my opinion.
The Meiji Restoration, which started in 1868, opened the country to the western world and rapid Westernization started. The Meiji period (1868 – 1912) was a time of significant political, economic, and social change. People began to know about what was happening in another part of the world, and esthetically the era coincided with our learning and contribution to Japonisme, Art Nouveau, and Art Déco. Interestingly, there was a difference or gap in handling the changes in aesthetics between Tokyo and Kyoto. In Tokyo, they were eager to change to get the most commercial success in exporting ceramics or lacquer wares catering to western likings. In Kyoto, they were more focused on changes merging withtradition. The differences are apparent when we see Meiji ceramics produced in Tokyo for export and Zuancho, which digested the western aesthetics of the period in the West but focused on domestic consumption, namely the Kyoto Kimono industry.
The result? The export goods of the era show the historical footsteps but are now not considered timeless beauty. The Zuancho designs, on the other hand, look fresh, and we can certainly adapt them to the 21st century.
It is one of the pinnacles of Zuancho, in my opinion.
The Meiji Restoration, which started in 1868, opened the country to the western world and rapid Westernization started. The Meiji period (1868 – 1912) was a time of significant political, economic, and social change. People began to know about what was happening in another part of the world, and esthetically the era coincided with our learning and contribution to Japonisme, Art Nouveau, and Art Déco. Interestingly, there was a difference or gap in handling the changes in aesthetics between Tokyo and Kyoto. In Tokyo, they were eager to change to get the most commercial success in exporting ceramics or lacquer wares catering to western likings. In Kyoto, they were more focused on changes merging withtradition. The differences are apparent when we see Meiji ceramics produced in Tokyo for export and Zuancho, which digested the western aesthetics of the period in the West but focused on domestic consumption, namely the Kyoto Kimono industry.
The result? The export goods of the era show the historical footsteps but are now not considered timeless beauty. The Zuancho designs, on the other hand, look fresh, and we can certainly adapt them to the 21st century.