Mantai Suriutsuchi No Uchi
About This Series
The sheets gathered in the present database under the heading Mantai Suriutsuchi no Uchi belong to one of the privately distributed surimono-style suites that Hiratsuka Un'ichi (1895-1997) produced for sosaku-hanga subscriber circles and personal exchange, the romanization preserved here from contemporary records and to be understood as a phonetic rendering of a within-the-set title of the kind Hiratsuka used for several of his early private editions. Throughout the late 1920s and 1930s the artist, by then a senior figure in the Nihon Sosaku-Hanga Kyokai and the leading proponent of jiga jikoku jizuri, the self-drawn, self-carved, and self-printed woodblock, issued small editions from his own workshop for the print collector's clubs and zoshi or magazine subscription groups that had formed around the movement, and the present subjects belong to that intimate distribution rather than to commercial publication. Each impression is executed as a black-and-white sumizuri-e printed in carbon sumi on washi, with the broadly massed darks and reserved areas of paper that had become Hiratsuka's signature register and the surfaces preserving direct evidence of his cutting in cherry block. The within-the-set or no uchi formulation, used widely in Edo-period printing to indicate a sheet's position within a numbered group, was deliberately preserved by sosaku-hanga artists as a marker of their continuity with the older woodblock tradition even as they reformed its production system. Impressions and related private-edition material from Hiratsuka's prewar years are preserved in the Smithsonian's National Museum of Asian Art, the Honolulu Museum of Art, the Museum of Fine Arts Boston, and most completely in the Hiratsuka Un'ichi Print Museum in Suzaka, Nagano, which holds the artist's personal archive.
Prints in This Series (2)
Frequently Asked Questions
The sheets gathered in the present database under the heading Mantai Suriutsuchi no Uchi belong to one of the privately distributed surimono-style suites that Hiratsuka Un'ichi (1895-1997) produced for sosaku-hanga subscriber circles and personal exchange, the romanization preserved here from contemporary records and to be understood as a phonetic rendering of a within-the-set title of the kind Hiratsuka used for several of his early private editions. Throughout the late 1920s and 1930s the artist, by then a senior figure in the Nihon Sosaku-Hanga Kyokai and the leading proponent of jiga jikoku jizuri, the self-drawn, self-carved, and self-printed woodblock, issued small editions from his own workshop for the print collector's clubs and zoshi or magazine subscription groups that had formed around the movement, and the present subjects belong to that intimate distribution rather than to commercial publication. Each impression is executed as a black-and-white sumizuri-e printed in carbon sumi on washi, with the broadly massed darks and reserved areas of paper that had become Hiratsuka's signature register and the surfaces preserving direct evidence of his cutting in cherry block. The within-the-set or no uchi formulation, used widely in Edo-period printing to indicate a sheet's position within a numbered group, was deliberately preserved by sosaku-hanga artists as a marker of their continuity with the older woodblock tradition even as they reformed its production system. Impressions and related private-edition material from Hiratsuka's prewar years are preserved in the Smithsonian's National Museum of Asian Art, the Honolulu Museum of Art, the Museum of Fine Arts Boston, and most completely in the Hiratsuka Un'ichi Print Museum in Suzaka, Nagano, which holds the artist's personal archive.
The Mantai Suriutsuchi No Uchi series contains 1 prints, created by Hiratsuka Un'ichi.
The Mantai Suriutsuchi No Uchi series was created by Hiratsuka Un'ichi (平塚運一).
We currently have 2 of 1 known prints from the Mantai Suriutsuchi No Uchi series indexed in our collection. Browse them all on this page.
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