Reproduced in this note card set are prints from the mid-nineteenth and mid-twentieth centuries from Haiku: Japanese Art and Poetry and Shin Hanga: The New Print Movement of Japan.
Reproduced in this note card set are prints from the mid-nineteenth and mid-twentieth centuries from Haiku: Japanese Art and Poetry and Shin Hanga: The New Print Movement of Japan. Purest of poems, a haiku contains in its seventeen syllables a seasonal allusion as well as a distinct pause or shift. Japanese woodblock artists have often drawn their inspiration from the same sources used by haiku poets. In fact, the greatest of haiku poets, the seventeenth-century master Bashō, was an accomplished painter himself.
Images contained here: Water Lilies (c. 1930s) by Nishimura Hodō, Blue Birds at Night (early 20th century) by Watanabe Seitei (Shōtei), Monkey Bridge in Kai Province, #13 from Famous Views of the Sixty-Odd Provinces (1853–1856) by Andō Hiroshige, and Spring Rain at Matsushima (1936) by Tsuchiya Kōitsu.
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| Description | Reproduced in this note card set are prints from the mid-nineteenth and mid-twentieth centuries from Haiku: Japanese Art and Poetry and Shin Hanga: The New Print Movement of Japan. Purest of poems, a haiku contains in its seventeen syllables a seasonal allusion as well as a distinct pause or shift. Japanese woodblock artists have often drawn their inspiration from the same sources used by haiku poets. In fact, the greatest of haiku poets, the seventeenth-century master Bashō, was an accomplished painter himself. Images contained here: Water Lilies (c. 1930s) by Nishimura Hodō, Blue Birds at Night (early 20th century) by Watanabe Seitei (Shōtei), Monkey Bridge in Kai Province, #13 from Famous Views of the Sixty-Odd Provinces (1853–1856) by Andō Hiroshige, and Spring Rain at Matsushima (1936) by Tsuchiya Kōitsu.
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| Art Style | Japanese |
