Ito Shinsui, Snow at the Shrine, Shin Hanga


Original Japanese woodblock print.

Artist: Ito Shinsui (1898-1972)
Title: Snow at the Shrine
Publisher: Watanabe Shozaburo
Date: 1930
Edition: 58/250
Dimensions: 27.8 x 43.2 cm
Condition: Paper browned slightly.

In a snow blanketed landscape, a young lady stands before a shrine. Her black naga-haori is coloured with a soft application of bokashi gradation, with the sparseness of pigment providing stippled texture. She wears tall geta for ease of movement and holds a parasol aloft, dusted by powdery snow. The vividness is of the tranquil stream flowing across the scene is enhanced by the pure white backdrop. In the Japanese language, the word for 'pine tree' is a homonym for the verb 'to wait' and has thus been a symbol or poetic byword for a lover's yearning. This can be translated into English to the same effect: to 'pine' for someone. The pine tree that dominates the left side of the composition alludes to, or possibly stands in for, a lover who may or may not stay true to their rendezvous.

Shinsui Ito (1898 - 1972)

Shinsui Ito is regarded as one of the most significant woodblock print artists of the shin-hanga movement and is considered as one of the last to be influenced by the traditional ukiyo-e (woodblock print) style particularly in the subject of bijinga (beautiful women). Born Hajime Ito in Tokyo, he was passionate about art from an early age and became a student of nihonga under the guidance of painter Kaburaki Kiyokata. Difficult family circumstances pushed him into hardship, although his determination to continue studying made him work during daytime and attend night school afterwards. His diligence earned him the nickname ‘Shinsui’ (‘Deep water’).

At the age of eighteen, Shinsui joined the shin-hanga movement, which included major artists such as Hasui Kawase (1883-1957) and Goyo Hashiguchi (1880-1921). Established by the publisher Watanabe Shozaburo (1885-1962) the movement aimed to revive the older structure of ukiyo-e production and its collaborative process. Although many of his early works were direct reflections of traditional ukiyo-e both in subject matter and in style, his technique was revolutionary. Shinsui would paint a ‘master painting’ in watercolours, and dedicated craftsmen would make the actual prints from this ‘master copy’.

Most of Shinsui’s beauty prints show a simple yet rich palette of colours, usually in the clothes of the model, while contrasting white translucent skin and jet-black hair. This striking composition and a strong use of line became the embodiment of the shin-hanga aesthetic, borrowing from the Edo-period tradition and adding a modern dimension to it. A long process of experimentation and trial printings enabled both Shinsui and his publisher to create powerful expressions, deep textures and a transparency that could not be conveyed in painting. The collaboration continued into the 1960s to great success.

More Information
Print FormatOther
ArtistShinsui Ito (1898 - 1972)
SubjectBeauty & Female, Landscapes, Modern/Shin-Hanga
Size27.8 x 43.2 cm