Shin-hanga: The ‘new print’ movement in Japan after 1900

After the decline of ukiyo-e in the late 19th century, a new art movement emerged in Japan that sought to revitalize the traditional woodblock printing. Known as Shin Hanga (新版画), meaning “new prints”, this movement combined the beauty of the traditional ukiyo-e style with elements of modernity and Western art influences. Emerging during a period of rapid modernization in Japan, Shin Hanga blended the beauty of the traditional ukiyo-e style with contemporary sensibilities, capturing the beauty and complexity of early 20th-century Japan, leading to a renaissance in the art of woodblock printing.

In 2022, I was lucky to catch a Shin Hanga exhibition at the Museum for East Asian Art in Cologne. This exhibition gave rise to this article. Below you find some further impressions from the exhibition.

Historical context

The decline of ukiyo-e and the birth of Shin Hanga

By the late 19th century, Japan was undergoing a period of profound transformation. The Meiji Restoration (1868-1912) marked the end of the Tokugawa shogunate and the beginning of Japan’s rapid modernization and Westernization. This era brought about significant social, political, and economic changes as Japan sought to establish itself as a modern nation-state on par with Western powers. However, these shifts also had profound impacts on traditional Japanese arts, particularly ukiyo-e.

Ukiyo-e, which had flourished during the Edo period (1603-1868), was one of Japan’s most popular art forms, known for its depictions of the “floating world” of pleasure districts, kabuki actors (yakusha-e), and beautiful women (bijin-ga), as well as landscapes (fūkei-ga) and scenes from history and folklore. However, the rise of new technologies, such as photography, began to diminish the demand for woodblock prints. Photography offered a more accurate and immediate way of capturing reality, making traditional printmaking techniques seem outdated to a modernizing society.

Left: Plum Orchard in Kamada (Kamada no umezono), from One Hundred Famous Views of Edo, ukiyo-e by Utagawa Hiroshige, 1857. Source: Wikimedia Commonsꜛ (license: public domain). – Right: Rising moon over Mount Nanping (Nanpeizan shogetsu), from One Hundred Aspects of the Moon, ukiyo-e by Tsukioka Yoshitoshi, 1885. Source: Wikimedia Commonsꜛ (license: public domain).

Moreover, the opening of Japan to the West brought new artistic influences that challenged the traditional arts. Western styles of painting, particularly realism and Impressionism, began to gain popularity in Japan, leading to a decline in the status of ukiyo-e. The art form, once a dominant medium of visual culture, was increasingly seen as a relic of the past, unable to compete with the new, imported forms of expression.

Amid this cultural shift, the Nihonga movement emerged as an effort to preserve and modernize traditional Japanese painting. Nihonga (日本画, “Japanese painting”) artists sought to retain the techniques and aesthetic principles of traditional Japanese art, while also integrating certain elements of Western art, such as perspective and shading, to appeal to contemporary tastes. The movement was supported by the Japanese government as part of a broader effort to assert a distinct national identity through the arts, balancing the preservation of traditional culture with the adoption of modern practices.

The rise of Shin Hanga: Bridging tradition and modernity

In the early 20th century, the Shin Hanga movement was spearheaded by Watanabe Shozaburo (1885-1962), a visionary publisher who recognized the potential to rejuvenate the traditional woodblock printing technique by incorporating elements of Western art. Watanabe was deeply influenced by the Nihonga movement and shared its goal of revitalizing Japanese art in the face of modernization.

Shin Hanga, meaning “new prints”, was conceived as a way to breathe new life into the woodblock print tradition by blending the collaborative process of ukiyo-e with the realism and perspective of Western art. Watanabe aimed to create prints that would appeal to both Japanese and Western audiences, bridging the gap between the old and the new. His approach involved a revival of the traditional ukiyo-e model, where the process of creating a print was a collaborative effort between the artist, carver, printer, and publisher.

Left: Kamisuki (Combing the hair), Hashiguchi Goyō, 1920. Source: Wikimedia Commonsꜛ (license: public domain) – Right: Onsen yado (Hotspring Hotel), Hashiguchi Goyō, 1920. Source: Wikimedia Commonsꜛ (license: public domain)

Unlike ukiyo-e, which often depicted scenes of the “floating world” with traditional ukiyo-e themes like landscapes (fūkei-ga), beautiful women (bijin-ga), kabuki actors (yakusha-e), Shin Hanga artists focused on a wider range of subjects, now also including of everyday life and modernity. These prints were characterized by their use of realistic light and shadow, intricate details, and vibrant colors, which were achieved through advanced printing techniques. The inclusion of Western-style elements, such as perspective and depth, made these prints more accessible to international audiences, while still retaining the distinct aesthetic qualities of traditional Japanese art.

Left: Before the Mirror, Itō Shinsui, 1916. Source: Wikimedia Commonsꜛ (license: public domain) – Right: Tenno-ji, Osaka, from the series Souvenirs of Travel III (Tabi miyage dai sanshu), Kawase Hasui, 1927. Source: Wikimedia Commonsꜛ (license: public domain)

The relationship between Shin Hanga and Nihonga

The relationship between Shin Hanga and Nihonga is a key aspect of understanding the evolution of Japanese art during this period. Both movements emerged as responses to the challenges posed by modernization and westernization, and both sought to preserve and modernize traditional Japanese art forms. While Nihonga focused on painting and Shin Hanga on printmaking, they shared a common goal: to create a modern Japanese art that could stand alongside Western art, without abandoning the rich traditions of the past.

Left: Maiko in a Garden, Tsuchida Bakusen, 1924 Source: Wikimedia Commonsꜛ (license: public domain) – Right: Jo-no-mai, Uemura Shoen, 1936 Source: Wikimedia Commonsꜛ (license: public domain)

Nihonga artistsꜛ, like their Shin Hanga counterparts, often incorporated Western techniques into their work, such as the use of perspective and shading, but they did so within the framework of traditional Japanese materials and themes. This blending of old and new became a hallmark of both movements, allowing them to appeal to a broad audience while maintaining a distinctively Japanese identity.

Holy peaks of Chichibu at spring dawn, hanging scroll (emakimono), ink on silk, Yokoyama Taikan, 1928 Source: Wikimedia Commonsꜛ (license: public domain)

Night Snow, Hayami Gyoshū, 1930 Source: Wikimedia Commonsꜛ (license: public domain)

Shin Hanga can be seen as the printmaking counterpart to Nihonga, sharing the same ethos of blending tradition with modernity. While Nihonga sought to preserve the art of painting, Shin Hanga aimed to revive the art of woodblock printing. Both movements contributed to a broader cultural renaissance in Japan, where traditional art forms were reimagined for a new era, ensuring their survival and relevance in a rapidly changing world.

Landscapes in sumi ink, by the Sugiura family Source: Wikimedia Commonsꜛ (license: CC-BY-SA 4.0)

Artistic style and techniques

Fusion of tradition and modernity

The Shin Hanga movement is renowned for its masterful fusion of traditional Japanese woodblock printing techniques with modern artistic sensibilities. This blend of old and new is what defines the movement’s distinct aesthetic and sets it apart from its ukiyo-e predecessors.

Left: Shuzenji onsen, Kasamatsu Shirō, 1937. Source: Wikimedia Commonsꜛ (license: public domain) – Right: The Large Lantern in the Kannon Temple in Asakusa, Kasamatsu Shirō, 1934. Source: Wikimedia Commonsꜛ (license: public domain)

Realism and perspective: Bridging East and West

One of the most notable innovations of Shin Hanga was the incorporation of Western artistic techniques, particularly realism and perspective, into the traditional woodblock printing process. While ukiyo-e often utilized flat planes and stylized compositions, focusing on the decorative and symbolic aspects of the subjects, Shin Hanga artists sought to create more lifelike and three-dimensional representations.

Left: Kojaku Cavern, Oga Peninsula, Kawase Hasui, 1926. Source: Wikimedia Commonsꜛ (license: public domain) – Right: Drum bridge at Kameidō shrine Tokyo (variant 1), Yoshida Hiroshi. Source: Wikimedia Commonsꜛ (license: public domain)

Perspective in Shin Hanga was not just a technical addition but a transformative element that brought a new sense of depth and spatial complexity to the prints. This Western influence allowed Shin Hanga artists to depict landscapes with a sense of distance and scale that was uncommon in earlier Japanese art. Urban scenes, natural landscapes, and even portraits gained a new dimensionality that resonated with both Japanese and Western audiences.

Light and shadow: The influence of impressionism

The Shin Hanga movement was deeply influenced by Western art, particularly the Impressionist movement, which had a profound impact on how light and shadow were depicted. Shin Hanga artists employed techniques to capture the changing effects of light throughout the day, using subtle gradations of color and shadow to create atmosphere and mood. This focus on lighting brought a dynamic quality to the prints, making them appear almost luminous.

Pond at Benten Shrine in Shiba, Kawase Hasui, 1929. Source: Wikimedia Commonsꜛ (license: public domain)

For instance, in landscape prints (fūkei-ga), the play of light and shadow across a mountain range or the reflection of sunlight on water created a sense of time and place that was both evocative and emotionally resonant. In portraiture, the careful attention to how light interacted with the subject’s features added a sense of intimacy and realism, drawing the viewer into the scene.

Attention to detail and craftsmanship: Elevating woodblock printing

Shin Hanga prints are distinguished by their meticulous attention to detail and the high level of craftsmanship involved in their production. This was a deliberate effort to elevate the art of woodblock printing to a new level of sophistication, both technically and artistically.

Left: Carp, Shirō Kasamatsu, 1957. Source: ukiyo-e.orgꜛ – Right: Tsume, Natori Shunsen. Source: Wikimedia Commonsꜛ (license: public domain))

The process of creating a Shin Hanga print was highly collaborative, involving the artist, carver, printer, and publisher, each of whom brought their expertise to the project. Artists designed intricate compositions with a keen eye for detail, whether it was the delicate pattern on a kimono or the texture of a tree’s bark. Carvers translated these designs into woodblocks with precision, ensuring that every line and contour was faithfully reproduced.

The printing process itself was an art form, with printers carefully applying layers of pigment to achieve the desired effects. The use of natural pigments and high-quality washi paper contributed to the richness and longevity of the prints. The collaboration between artists and printers was crucial, as it required constant communication and a shared vision to ensure that the final product met the highest standards.

In addition to color, Shin Hanga artists experimented with texture and surface effects to enhance the visual impact of their work. Techniques such as bokashi (gradual shading) were used to create soft transitions between colors, while karazuri (embossing) added a tactile dimension to the prints. These techniques, combined with the careful application of pigments, gave Shin Hanga prints their characteristic depth and vibrancy.

Themes and subjects

Shin Hanga artists explored a wide range of themes and subjects, often drawing on the rich tradition of ukiyo-e while also reflecting contemporary life and interests:

• Bijin-ga: Following the tradition of ukiyo-e, Shin Hanga artists produced numerous prints depicting beautiful women, called bijin-ga. These works often portrayed women in traditional clothing and settings, but with a greater emphasis on individuality and emotion, reflecting the influence of Western portraiture.
• Landscapes: Landscape prints (fūkei-ga) were a central focus of the Shin Hanga movement. Artists like Kawase Hasui and Yoshida Hiroshi captured the beauty of Japan’s natural and urban landscapes, from serene rural scenes to bustling cityscapes. These prints often evoked a sense of nostalgia and appreciation for Japan’s changing environment.
• Urban life and modernity: Shin Hanga also depicted scenes of modern urban life, reflecting the changes occurring in Japan during the early 20th century. These prints captured the juxtaposition of tradition and modernity, portraying modern architecture, transportation, and everyday activities.
• Nature and seasons: The changing seasons and natural beauty of Japan were frequent subjects in Shin Hanga prints. Artists captured the transient beauty of cherry blossoms in spring, snow-covered landscapes in winter, and the vibrant colors of autumn foliage.

Left: Making tea at miyakonabe, Miki Suizan, 1924. Source: Wikimedia Commonsꜛ (license: public domain) – Right: Nakamura Ganjiro as Tojuro, Natori Shunsen, 1925. Source: Wikimedia Commonsꜛ (license: public domain)

Boats, Ohara Koson, 1950. Source: Wikimedia Commonsꜛ (license: public domain)

Left: Make-up, Torii Kotondo, 1929. Source: Wikimedia Commonsꜛ (license: public domain) – Right: Jean Valjean of the XIII Morita Kanya, Yamamura Koka, 1921. Source: Wikimedia Commonsꜛ (license: public domain)

Hatō zu, Uehara Konen, 1900. Source: Wikimedia Commonsꜛ (license: public domain)

Left: Maiko Admiring the Moon, Yoshikawa Kampō, 1924. Source: ukiyo-e.orgꜛ – Right: Asakusa Kinryūzan Temple, from Sketches of Famous Places in Japan, Koitsu Tsuchiya, 1938. Source: Wikimedia Commonsꜛ (license: public domain)

Daimonji Fire Display, Taizo Minagawa, 1964. Source: ukiyo-e.orgꜛ

Key figures

Several artists and collaborators played crucial roles in the development and success of the Shin Hanga movement:

• Watanabe Shōzaburō (1885-1962): The driving force behind Shin Hanga, Watanabe was a publisher who believed in preserving the traditional ukiyo-e techniques while modernizing the content and style. He collaborated with artists, carvers, and printers to produce high-quality prints that would appeal to both domestic and international markets.
• Hashiguchi Goyō (1880-1921): Known for his exquisite bijin-ga (pictures of beautiful women), Goyo was one of the pioneers of Shin Hanga. His work set a high standard for the movement, blending traditional Japanese aesthetics with Western influences.
• Itō Shinsui (1898-1972): Shinsui was a leading artist in the Shin Hanga movement, known for his delicate and refined depictions of women (bijin-ga), landscapes (fūkei-ga), and everyday life. His prints exemplified the fusion of traditional and modern elements that defined Shin Hanga.
• Kawase Hasui (1883-1957): Hasui is perhaps the most famous landscape artist of the Shin Hanga movement. His atmospheric prints of Japan’s rural and urban landscapes captured the beauty and tranquility of the natural world, resonating with both Japanese and Western audiences.
• Kasamatsu Shirō (1898–1991): A versatile artist, Kasamatsu was known for his landscapes (fūkei-ga) and bijin-ga. His works often combined traditionalukiyo-e elements with modern realism, making him a significant contributor to the Shin Hanga movement.
• Kobayakawa Kiyoshi (1889–1948): Kiyoshi was renowned for his bijin-ga and actor portraits. His elegant and sophisticated portrayal of women, often in contemporary settings, reflected the blend of traditional and modern influences central to Shin Hanga.
• Miki Suizan (1887–1957): Suizan was known for his serene and expressive depictions of women (bijin-ga) and landscapes (fūkei-ga). His prints often conveyed a quiet beauty, embodying the subtleties of both Shin Hanga and Nihonga styles.
• Natori Shunsen (1886–1960): A master of yakusha-e (actor prints), Shunsen brought a modern sensibility to the traditional genre of kabuki actor portraits. His detailed and dynamic representations of kabuki stars became iconic within Shin Hanga.
• Ohara Koson (1877–1945): Koson specialized in kacho-e (bird and flower prints), creating delicate and meticulously detailed images of wildlife. His works were highly popular both in Japan and abroad, contributing significantly to the international success of Shin Hanga.
• Torii Kotondo (1900–1976): As a member of the Torii school, Kotondo was best known for his bijin-ga. His prints are characterized by their soft, graceful lines and an emphasis on the delicate beauty of his subjects, blending tradition with modernity.
• Uehara Konen (1877–1940): Konen was known for his landscape and nature prints (fūkei-ga), which often depicted tranquil, rural scenes. His works are noted for their use of soft colors and subtle gradations, reflecting the Shin Hanga emphasis on light and atmosphere.
• Yamamura Kōka (1885–1942): Kōka was a versatile artist who worked in both Shin Hanga and Nihonga. His works often featured actors yakusha-e and beautiful women bijin-ga, showcasing a modernized approach to traditional Japanese subjects.
• Yoshida Hiroshi (1876-1950): A painter and printmaker, Yoshida played a significant role in the international success of Shin Hanga. His work often depicted landscapes (fūkei-ga) and scenes from his travels, combining Japanese and Western techniques.
• Takahashi Shōteiꜛ (1871-1945): Shōtei was woodcut print artist known for his Shinsaku Hanga prints and later for his Shin Hanga works.
• Yoshikawa Kampō (1894–1979): Kampō was known for his bijin-ga and historical scenes. His style reflected a blend of traditionalukiyo-e aesthetics with modern influences, contributing to the diversity of the Shin Hanga movement.
• Koitsu Tsuchiya (1870-1949): Koitsu was renowned for his atmospheric landscape prints (fūkei-ga), often capturing the interplay of light and shadow in urban and rural settings. His works are celebrated for their meticulous detail and the emotive quality of his scenes.
• Tokuriki Tomikichirō (1902-2000): A versatile artist, Tokuriki was known for his landscapes (fūkei-ga), cityscapes, and nature prints. His works often combined traditional Japanese motifs with a modern sensibility, reflecting the spirit of the Shin Hanga movement.
• Maeda Masaoꜛ (1904-1974): Masao was a prominent artist in the postwar period, known for his innovative approach to Sōsaku Hanga. His prints often featured a rather abstract and modern interpretation of traditional subjects.
• Minagawa Taizo (1917-1975): Although he emerged later in the Shin Hanga movement, Taizō contributed significantly with his unique approach to bijin-ga and landscapes (fūkei-ga), blending traditional motifs with modern stylistic elements.
• Mori Yoshitoshi (1898-1992): Mori was a prominent artist in the postwar period, known for his innovative approach to Sōsaku Hanga. His prints often featured a rather abstract and modern interpretation of traditional subjects.
• Inagaki Tomoo (1902-1980): Like Yoshitoshi Mori, Inagaki Tomoo Sōsaku Hanga works were characterized by a modern and abstract style, often depicting traditional ukiyo-e and Shin Hanga motifs in a unique and innovative way.
• Iwao Akiyamaꜛ (1921-2014): Akiyama was a contemporary artist who continued the tradition of Shin Hanga into the 21st century. His works often explored themes of nature, spirituality, and the passage of time, reflecting a deep connection to traditional Japanese aesthetics.
• Okiie Hashimotoꜛ (1899-1993): Hashimoto was a prominent artist in the postwar period, known for his innovative approach to Sōsaku Hanga. His prints often featured a rather abstract and modern interpretation of traditional subjects.
• I­do Masaoꜛ (1945-2016): Ido was a contemporary artist who continued the tradition of Shin Hanga into the 21st century. His works often featured modern urban scenes and landscapes, reflecting the changing face of Japan’s cities and countryside.
• Kazuyuki Ohtsuꜛ (born 1935): Ohtsu is a contemporary artist who has continued the legacy of Shin Hanga into the present day. His works often explore themes of nature, spirituality, and the passage of time, reflecting a deep connection to traditional Japanese aesthetics.
• Morimura Reiꜛ (born 1948): Rei is a contemporary artist who has reinterpreted the Shin Hanga tradition in a modern context. His works often combine traditional woodblock printing techniques with digital technology, creating a unique fusion of past and present.

Significance for Japanese art and culture

Revival of Japanese woodblock printing

Shin Hanga played a crucial role in revitalizing the art of woodblock printing in Japan. At a time when traditional ukiyo-e was in decline, Shin Hanga artists and publishers brought new life to the medium, attracting both domestic and international audiences. The movement helped preserve the traditional techniques of woodblock printing while also pushing the boundaries of the art form.

One of the most significant aspects of Shin Hanga was its international appeal. Watanabe Shozaburo, in particular, was instrumental in promoting Shin Hanga prints overseas, especially in the United States and Europe. Exhibitions of Shin Hanga prints were held in major cities around the world, and the prints were widely collected by Western art enthusiasts. This global interest in Shin Hanga contributed to a renewed appreciation for Japanese art and culture.

In 1984, Stephe Jobs used a Shin Hanga print, A Woman Combing Her Hair by Hashiguchi Goyō, to demonstrate the graphical capabilities of the new Macintosh computer then presented. Source: Wikimedia Commonsꜛ (license: public domain)

The influence of Shin Hanga extended beyond its own time, shaping the development of modern and contemporary art in Japan and abroad. The movement’s emphasis on high-quality craftsmanship, attention to detail, and the fusion of traditional and modern elements resonated with later generations of artists. Shin Hanga also influenced the Sōsaku Hanga (Creative Prints) movement, which emphasized the artist’s individual creativity and involvement in all aspects of the printmaking process.

Today, Shin Hanga remains a celebrated and highly regarded art movement. Its prints are prized by collectors and continue to be exhibited in museums and galleries worldwide. The movement’s ability to blend tradition with modernity, along with its high level of artistic and technical skill, has ensured its lasting legacy in the history of Japanese art.

Examples

Here are some examples of Shin Hanga prints that I captured during the exhibition “Shin Hanga – The new prints of Japan 1900-1960” at the Museum for East Asian Art in Cologne in 2022:

Winter landscape, Uehara Konen (1877-1940), pre-1923. Museum for East Asian Art in Cologne, 2022.

Ferry Boat, Uehara Konen (1877-1940), Taishō period, dated 1918. Museum for East Asian Art in Cologne, 2022.

Beauty with a cherry branch, Ito Sozan (1884-?), Taisho period (20th century). Museum for East Asian Art in Cologne, 2022.

Left: Before the Mirror – Right: After the Bath (1917), Itō Shinsui (1898 - 1972). Museum for East Asian Art in Cologne, 2022.

Center: Combing the Hair (Kamisuki), Hashiguchi Goyō, 1920. Museum for East Asian Art in Cologne, 2022.

< a name=”sosakuhanga”></a>

The Sōsaku Hanga movement

Sōsaku Hanga (創作版画, ‘creative prints’) was a movement that emerged in Japan in the early 20th century as a response to the Shin Hanga movement. Unlike Shin Hanga, which emphasized collaboration between artists, carvers, and printers, Sōsaku Hanga artists sought to create prints that were entirely the work of the artist, from design (jiga, self drawing) to carvin (jikoku, self carving) and printing (jizuri, self printing). This approach was influenced by Western printmaking traditions, particularly the concept of the artist as a creator of original works.

The movement was led by artists such as Munakata Shikō, Onchi Kōshirō, and Hiratsuka Un’ichi, who sought to break away from the traditional division of labor in woodblock printing and assert their individual artistic vision. Sōsaku Hanga prints often featured bold, abstract designs and experimental techniques, reflecting the artists’ interest in exploring new possibilities for the medium.

Conclusion

Shin Hanga represents a pivotal moment in the history of Japanese woodblock printing, marking the transition from traditional ukiyo-e to a modern, globally recognized art form. By reviving and reinventing the techniques of ukiyo-e, Shin Hanga artists and publishers created a body of work that is both timeless and contemporary, reflecting the beauty and complexity of early 20th-century Japan. The movement’s legacy continues to inspire and influence artists today, ensuring that the art of woodblock printing remains a vital and dynamic part of Japan’s cultural heritage.

If you hear about an interesting exhibition on Shin Hanga in your area, please feel free to share that information with us in the comments below. So will I.

References and further reading

• Chris Uhlenbeck, Jim Dwinger, Philo Ouweleen, Shin Hanga - Die »Neuen Drucke« Japans 1900-1950, 2022, Hatje Cantz, ISBN: 9783775752190
• viewingjapaneseprints.netꜛ