Re: Shijo School Woodblock Prints - Many Questions!


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Posted by Colin on March 19, 2003 at 02:49:15:

In Reply to: Shijo School Woodblock Prints - Many Questions! posted by Shade of Sharaku on March 13, 2003 at 03:07:50:

Hi,
Since noone else has answered yet, I will suggest a few answers to provoke some corrections.

1) I have never heard of a single sheet shijo style print prepared for a large edition. J. Hillier in his book "The Uninhibited Brush" does not illustrate any prints of that kind, although he does illustrate some very large surimono.

In any case, the shijo printed works that matter most to me were published as books or albums. As Hillier comments, Shijo is most attractive as small scale sketches.

2) I have never come across albums of accumulated surimono prints. In contrast, there were many books and albums in shijo style published as anthologies of illustrated poems. Hillier comments that even paintings and albums of paintings were often produced as collaborative works by several artists.

3) I imagine an important factor in the persistence of surimono was the persistence of geisha, who must have been important patrons of surimono publishers. In any case, Kyoto and Edo have always been so different in character that cultural differences are hardly surprising.

: Hi,

: I'm wondering if there is such a thing as Shijo School woodblock prints outside of the genres of surimono and woodblock books and albums. Has anything been written on the publishing industry in Kyoto? Were single sheet prints--other than surimono and some kappazuri--ever a part of this industry?

: A related side question: are Shijo haikai prints found in folding albums more properly called album prints or surimono? I suppose this question really is one of process: were these albums assembled of prints given/received as surimono, as in the case of the Edo kyoka albums, or were they published complete as collections, using the blocks that had been used to make surimono?

: Oops, one more. Why did the surimono movement in Kyoto continue for so long after it had died in Edo? Was this the more enduring nature of haikai poetry, or were social factors like the Tempo Reforms more influential?




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