Shin-hanga and Sosaku-hanga: Reviving and Reinventing Traditional Art

In the early 20th century, as Japan navigated the complexities of modernity and tradition, two significant art movements emerged: Shin-hanga (New Prints) and Sosaku-hanga (Creative Prints). These movements, while rooted in the heritage of Ukiyo-e, sought to reinterpret and revive traditional Japanese woodblock printing in the context of the changing artistic and cultural landscape.

Shin-hanga: Bridging the Traditional and Modern

The Shin-hanga movement, initiated in the 1910s, was characterized by its adherence to traditional Ukiyo-e techniques and collaborative approach, involving artists, carvers, printers, and publishers. However, Shin-hanga artists infused these traditional methods with modern sensibilities, incorporating Western elements of realism, perspective, and shading, and focusing on naturalistic and often romanticized portrayals of landscapes, women, and historical scenes.

Shin-hanga was largely driven by publisher Watanabe Shozaburo, who recognized the potential for reviving woodblock printing by catering to both domestic and international markets. He collaborated with artists like Kawase Hasui and Hiroshi Yoshida, who became prominent figures in the Shin-hanga movement. Hasui’s landscape prints, often depicting rain, snow, and night scenes, are celebrated for their poetic and atmospheric qualities. Yoshida, on the other hand, brought his experience of Western painting to Shin-hanga, creating prints that showcased a fusion of Japanese and Western techniques.

Sosaku-hanga: The Rise of the Artist-Printmaker

In contrast to the collaborative nature of Shin-hanga, the Sosaku-hanga movement, emerging around the same time, emphasized the principle of "self-drawn, self-carved, self-printed" (jiga, jikoku, jizuri). This movement was inspired by the idea of the artist as a singular creative force, responsible for every aspect of the printmaking process, akin to the Western concept of the artist.

Sosaku-hanga was influenced by Western modernist art and the Japanese folk art (Mingei) movement. It was more experimental and expressive, often reflecting the personal vision and style of the artists. This movement was about artistic expression and individualism, moving away from the traditional themes of Ukiyo-e.

Impact and Legacy

Both Shin-hanga and Sosaku-hanga played crucial roles in the evolution of Japanese printmaking in the 20th century. While Shin-hanga brought a renewed interest in traditional woodblock prints through its modern reinterpretation, Sosaku-hanga paved the way for greater artistic freedom and expression in printmaking.

These movements, though different in approach and philosophy, collectively contributed to a renaissance in Japanese art, blending the rich traditions of the past with the evolving artistic currents of the modern world. Shin-hanga, with its romantic and often nostalgic appeal, resonated particularly well in the West, playing a significant role in the Japonisme movement's resurgence during the early 20th century. Its prints, celebrated for their technical excellence and exquisite beauty, continued the legacy of Ukiyo-e while adapting to the tastes and aesthetics of a new era.

Sosaku-hanga, on the other hand, emphasized the artist's personal touch and creativity, aligning more closely with the spirit of modern art. It fostered a more introspective and individualistic approach, allowing artists to explore and express their inner worlds through the medium of printmaking. This movement significantly influenced the development of contemporary Japanese art, encouraging experimentation and self-expression.