Other Prints

Pair of Japanese Signed Woodblock Prints C. 1910 Pair of rare and large Japanese woodblock prints from the early 20th century. Each of ...

Faces (4 Faces), 1969 Tomio Kinoshita (1923-2014), Japan Woodblock print Paper, pigment, sumi ink Image: 27 high by 18.25 inches wide (68.5 by 46.4 cm) Paper size: 28 high by 19...

Tomio Kinoshita (1923 - 2014) Masks (No. 4), 1981 Woodblock print Image Size: 22 high by 31 inches wide (56 by 79 cm) Paper Size: 22.75 high by 31.5 inches wide (57.8 by 80 cm) ...

Tomio Kinoshita (1923 – 2014) Big Boys, 1960 Woodblock print Image size: 32.75 high by 22 inches wide (83 by 56 cm) Paper size: 35.5 high by 23.75 inches wide (90 by 60.3 cm) Signed: in pencil lower right, Tomio Kinoshita Titled: in pencil at lower left Edition: 30/50 Condition: Very good The woodblock for this large print was carved in 1958, just three years after Kinoshita’s began creating woodblocks. This print was signed and dated in 1960, but not numbered; prints were also pulled from this block in the 1970s, so it must have been one of more popular images. One of his students has written, “As time progressed further, the postwar era saw improvements in nutrition, and children became taller and heavier than in the past, but their lack of physical exercise and severely inferior physical abilities became a social problem; this is ironically depicted in Big Boys.” In 1963, Kinoshita told him that he had just finished pulling a print of this image in response to a request from Unichi Hiratsuka...

Chinese ink rubbing printing depicting Panthaka Arhat, no.4 of the 16 arhat images immortalized in stone at the former stupa at Shengyin Temple. Depicted here sitting on a rock with a book in his left hand and snapping his fingers in his right hand, symbolic of the speed at which he obtained enlightenment, accompanied by a beggar’s bowl and an incense burner, complete with colophons and silk scroll mounting. The Emperor Qianlong ordered the stone stele to be carved in 1764 after the arhat designs painted by the famed artist Guanxiu (832-912). Even though the temple was destroyed in the Taiping rebellion, the steles remain and have been reinstalled at the Hangzhou Stele Forest. Condition: Creases from rolling, otherwise fine condition. Mounting: 58” x 22”. 19th Century. Ex Collection: Frank “Till” & Peggy Durdin, San Diego. For other rubbings of this stele see: Penn Museum, object number 2010-26-4 The Metropolitan Museum of Art AN#: 59.195.15 Fine Arts Library of Harvard University, record id: W280021_urn-3:FHCL:478850 For another example of this image rendered in jade and lacquer see: “Screen Paintings of Guanxiu’s Sixteen Arhats in the Collection of the Palace Museum” Luo Wehhua translated by Bruce Doar, Orientations, September 2010, p. 104. In this article the image is identified as the sixteenth arhat Abheda, It is explained in this article that Qianlong re-identified the arhats, thus the 16th Arhat attribution for this image. Also in this article the identical colophon by Qianlong above the image is translated as: “These accurate portraits of the Sixteen Arhats were created by the Tang Dynasty painter Guanxiu, as recorded in Xuanhe Huapu (Record of paintings in the Xuanhe Reign), and during the millennium from the Guangming reign period to the present day, the original works were to be found in Zhejiang, where they were housed in the collection of Shengyin Temple in Qiantang (Huangzhou). In spring of the dingchou year (1757) of his reign, the Qianlong emperor undertook a southern tour of inspection and stayed at an imperial lodge on the West Lake. He went to the temple to pay his respects and there he saw the arhats on display and wrote a description of these marvels. The sequence of the arhats and their names had been passed down since ancient times, but they did not correspond to their Sanskrit titles; the sequence of the arhat names conformed instead to the interpretation of the Sanskrit classics by the Zhangjia State Preceptor. The emperor penned the original names and positions in the sequence below each of the figures in accordance with the readings supplied in Tongwen Yuntong (Unified Rhymes), and below each he penned an encomium, which he signed. Then the images were returned to the collection, to be passed down as a perpetual treasure. Now, the fourth great arhat had long gone missing and we did not know where his painting was. But it was merely a trifling matter of matching the images with the names, and now surely we have found him! This I, the emperor, believe.” All 16 of these rubbings can be found in the Rubel Chinese Rubbings Collection at the Fine Arts Library of Harvard University with the following descriptive historical note: “Rubbing from stele depicting No. 4 of 16 arhats (Lohans, Buddhist saints) -- Nan ti mi duo luo qing you, Panthaka Arhat. Original painting attributed to Guanxiu, 832-912. Inscriptions written by Hongli, Emperor Qianlong (Gaozong, 1711-1799) of Qing Dynasty. 7 seals of Qianlong follow the inscriptions. Script style: in xing shu. Shi liu zun zhe -- "The 16 noble ones" are 16 lohans. Lohans are also called "a-lo-han" based on the transliteration of the Sanskrit term "arhat." (Japanese: Rakan; Chinese: Lohan; Tibetan: Gnas-brtan). Arhats or Arahants are saints or sages said to have renounced nirvana (freedom from the cycle of suffering and rebirth), vowed to remain in the world to protect the Dharma and propagate the Law of the Buddha in order to devote themselves more effectively to the relief of human misery, like the Bodhisattvas. These 16 Arhats, personal disciples distinguished by the Buddha, formed part of the 500 claimed by tradition to have attended the First Council in Rajagrha. The names and abodes of these 16 arhats are given in a work entitled "Record on the Duration of the Law, spoken by the Great arhat Nadimitra," which was translated into Chinese by the famous pilgrim Xuanzang (596-664) in 654. 16 lohans are quite often represented, especially in China and Japan, in sculpture and painting, in poses and with attributes. Every lohan can be easily with special icongraphic characteristics. Guanxiu (Jiang Deyin or Deyuan, a Buddhist monk also named Master Chan Yue, 832-912) -- painter during late Tang to Five Dynasties, specialized in painting lohan figures. Legend has it that the first portraits of the 18 Lohans...

Original Japanese woodblock print by Katsukawa Shunsen (Shunko II) (1762- circa 1830): five karako (Chinese boys) in traditional garments at play in a snow covered garden, making an ...

Large format softcover in brown paper printed dustwrapper. Facendo mobili con Archizoom, Asti, Aulenti, Ceroli, De Pas d'Urbino Lomazzi, Ernst, Fini, Mangiarotti, Marotta, Mendini, Michelucci, Nespolo, Portoghesi, Ruffi, Sottsass, Superstudio, Vignelli. Profusely illustrated with more than 500 images (photographs and drawings). Text in Italian. Poltronova, printed by Artigraf - Firenze in 1996 (texts by Pier Carlo Santini) Profusely illustrated with more than 500 images (photographs and drawings). Text in Italian, 21 x 30 cm, 180 pages. Santini was born in Lucca on 20 April 1924. After the interval of the war, he attended the Faculty of Letters of the University of Pisa graduating in 1951 under the guidance of Carlo Ludovico Raggianti, with a thesis on Giambologna, worthy of praise and the dignity of publication. From 1952 to 1957 he was editor of "SeleArte", a bimonthly training and information of the artistic disciplines, commissioned by Ragghianti and published by Adriano Olivetti. In 1957 he moved to Milan, to the editorial office of "Comunità" to assume the responsibility of the architecture section. In this period he conceived and produced the first monographs of living architects: Moretti, Figini...