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was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ''ukiyo-e'' art rooted in the Edo and Meiji periods (17th–19th century). It maintained the traditional ''ukiyo-e'' collaborative system (''hanmoto'' system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the ''sōsaku-hanga'' (creative prints) movement which advocated the principles of "self-drawn" (''jiga''), "self-carved" (''jikoku'') and "self-printed" (''jizuri''), according to which the artist, with the desire of expressing the self, is the sole creator of art. The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (''fukeiga''), famous places (''meishō''), beautiful women (''bijinga''), kabuki actors (''yakusha-e''), and birds and flowers (''kachōga''). == History == The term ''shin-hanga'' was coined in 1915 by Watanabe Shōzaburō (1885-1962), the most important publisher of ''shin-hanga'', with the aim of differentiating ''shin-hanga'' from the commercial mass art that ''ukiyo-e'' had been, though it was driven largely by exports to the United States. ''Shin-hanga'' prints were directed to a Western audience largely through Western patronage and art dealers such as Robert O. Muller (1911-2003). Directed primarily to foreign markets, ''shin-hanga'' prints appealed to Western taste for nostalgic and romanticized views of Japan. ''Shin-hanga'' prints flourished and enjoyed immense popularity overseas. In the 1920s, there were articles on ''shin-hanga'' in the International Studio, the Studio, the Art News and the Art Digest magazines. In 1921, a ''Shinsaku-hanga Tenrankai'' (New Creative Print exhibition) was held in Tokyo. One hundred and fifty works by ten artists were exhibited. In 1930 and 1936, two major ''shin-hanga'' exhibitions were held at the Toledo Museum of Art in Ohio. They were the largest showcases of ''shin-hanga'' prints at the time. Ironically, there was not much domestic market for ''shin-hanga'' prints in Japan. ''Ukiyo-e'' prints were considered by the Japanese as mass commercial products, as opposed to the European view of ''ukiyo-e'' as fine art during the climax of Japonisme. After decades of modernization/Westernization during the Meiji era, architecture, art and clothing in Japan came to follow Western modes. Japanese art students were trained in the Western tradition. Western oil paintings (''yōga'') were considered high art and received official recognition from the Bunten (The Ministry of Education Fine Arts Exhibition). ''Shin-hanga'' prints, on the other hand, were considered as a variation of the outdated ''ukiyo-e''. They were dismissed by the Bunten and were subordinated under oil paintings and sculptures. ''Shin-hanga'' declined as the military government tightened its control over the arts and culture during wartime. In 1939, the Army Art Association was established under the patronage of the Army Information Section to promote war art. By 1943, an official commission for war painting was set up and artists’ materials were rationed. Overseas market for Japanese prints declined drastically at the same time. ''Shin-hanga'' never regained its momentum in postwar Japan. Instead, ''sōsaku-hanga'' emerged as the genuine heir of the ''ukiyo-e'' woodblock tradition and enjoyed immense popularity and prestige in the international art scene. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Shin-hanga」の詳細全文を読む スポンサード リンク
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