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傳統版畫的現代重生：穿梭於浮世繪與光影之間
【Shin Hanga: The New Prints of Japan 1900-1960】
《日本新版畫運動：1900-1960》
@ Ludion原文書
@全彩精裝/240頁/開本23.5 x 29.0 cm
@作者：Jim Dwinger, Philo Ouweleen, Chris Uhlenbeck
二十世紀在日本版畫史上是一個相對被忽視的時期。然而，自 1990 年代以來，博物館與私人收藏家對「新版畫」（Shin Hanga）的興趣日益濃厚。這些精美的設計，是藝術家、出版商、雕刻師與摺師之間，延續傳統工法卻又極為成功的合作結晶。
新版畫作品主要由兩大類別主導：一是如橋口五葉、鳥居言人及伊東深水筆下的「美人畫」；二是如川瀨巴水與吉田博創作的壯麗「風景畫」。然而，新版畫之所以區別於傳統的前輩（浮世繪），與其說是題材的差異，不如說是視覺語言的革新。古典筆下的女性往往是程式化且理想化的，而新版畫中的女性則以真實模特兒為原型，並充滿了情感波動。同時，新版畫的風景畫比起具象寫實，更趨向於印象派風格，利用細膩的色彩變化來營造出極具氛圍感的視覺效果。此外，令人驚嘆的技術完美度，也是這些版畫的一大特點。
充滿活力的出版商渡邊庄三郎（1885–1962）是新版畫運動的核心推手。在他的影響下，版畫的重心從大量生產轉向了更具獨特性的藝術形式。本書收錄的精選作品主要來自兩大私人收藏，並輔以布魯塞爾皇家藝術與歷史博物館的館藏。此外，經由稀有的特別許可，書中亦納入了一切源頭的關鍵人物——出版商渡邊家族的珍貴私人收藏。本新版經過修訂與擴充，增加了六位藝術家作品的新插圖。
The 20th century is a relatively overlooked period in Japanese printmaking. Since the 1990s, however, museums and private collectors have shown a growing interest in shin hanga (‘new prints’). These beautiful designs are the fruit of a traditional yet highly successful collaboration between artist, publisher, block cutter and printer.
The prints are dominated by two genres: beautiful women by artists such as Goyō, Kotondo and Shinsui and imposing landscapes by artists such as Hasui and Shinsui. However, it is not so much in their subject matter as through their visual language that shin hanga prints set themselves apart from their traditional precursors. Where the classically depicted women were stylised and idealised, their more recent counterparts were based on real models and are charged with emotion. The shin hanga landscapes, meanwhile, are more impressionistic than figurative, using a range of colour nuances to achieve exceptionally atmospheric results. An astonishing degree of technical perfection is another feature of these prints.
The dynamic publisher Watanabe Shōzaburō (1885–1962) was the driving force behind the shin hanga movement. Under his influence, the emphasis shifted from mass production to a more exclusive art form. The fine selection reproduced here is mostly drawn from two large private collections, supplemented by works from the Royal Museums of Art and History in Brussels and, with rare permission, items from the family collection of the publisher Watanabe, the man who started it all. This new edition has been revised and expanded with new illustrations of prints by six artists.
