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was an art movement in early 20th-century Japan. It stressed the artist as the sole creator motivated by a desire for self-expression, and advocated principles of art that is "self-drawn" (自画 ''jiga''), "self-carved" (自刻 ''jikoku'') and "self-printed" (自刷 ''jizuri''). As opposed to the ''shin-hanga'' ("new prints") movement that maintained the traditional ukiyo-e collaborative system where the artist, carver, printer, and publisher engaged in division of labor, creative print artists distinguished themselves as artists creating art for art’s sake. The birth of the ''sōsaku-hanga'' movement was signaled by Kanae Yamamoto's (1882–1946) small print ''Fisherman'' in 1904. Departing from the ukiyo-e collaborative system, Kanae Yamamoto made the print solely on his own, all the way from drawing, carving and printing. Such principles of "self-drawn", "self-carved" and "self-printed" became the foundation of the creative print movement, which struggled for existence in prewar Japan along with other art movements, and gained its momentum and flourished in postwar Japan as the genuine heir of the ukiyo-e tradition. The 1951 São Paulo Art Biennial witnessed the success of the creative print movement. Both of the Japanese winners, Yamamoto and Kiyoshi Saitō (1907–1997) were printmakers, who outperformed Japanese paintings (''nihonga''), Western-style paintings (''yōga''), sculptures and avant-garde. Other ''sōsaku-hanga'' artists such as Kōshirō Onchi (1891–1955), Unichi Hiratsuka (1895–1997), Sadao Watanabe (1913–1996) and Maki Haku (1924–2000) are also well known in the West. == Origins and early years == The creative print movement was one of the many manifestations of the rise of the individual after decades of modernization. In both artistic and literary circles, there emerged at the turn of the century expressions of the "self". In 1910, Kōtarō Takamura's (1883–1956) "A Green Sun" encourages artists' individual expression: "I desire absolute freedom of art. Consequently I recognize the limitless authority of individuality of the artist ... Even if two or three artists should paint a "green sun", I would never criticize them for I myself may see a green sun". In 1912, in "Bunten and the Creative Arts" (''Bunten to Geijutsu''), Natsume Sōseki (1867–1916) states that "art begins with the expression of the self and ends with the expression of the self". These two essays marked the beginning of the intellectual discussion of the "self", which immediately found echo in the art scene. 1910 witnessed the first publication of a monthly magazine called White Birch (''Shirakaba''), the most important magazine shaping the thought of the Taishō period. Aspiring young artists organized its first exhibition in the same year. ''Shirakaba'' also sponsored exhibitions of Western art. In its early formative years, the ''sōsaku-hanga'' movement, like many other art movements such as the ''shin-hanga'' movement, futurism and proletarian art movement, struggled to survive, experiment and sought a voice in an art scene dominated by mainstream arts that were well received by the Bunten. ''Hanga'' in general (including ''shin-hanga'') did not achieve the status of Western oil paintings (''yōga'') in Japan. ''Hanga'' was considered as a craft that was inferior to paintings and sculptures. ''Ukiyo-e'' woodblock prints had always been considered as mere reproductions for mass commercial consumption, as opposed to the European view of ''ukiyo-e'' as art, during the climax of Japonisme. It was impossible for ''sōsaku-hanga'' artists to make a living by just doing creative prints. Many of the later renowned ''sōsaku-hanga'' artists, such as Kōshirō Onchi (also known as the father of the creative print movement), were book illustrators and wood carvers. It was not until 1927 that ''hanga'' was accepted by the Teiten (the former Bunten). In 1935, extracurricular classes on ''hanga'' were finally permitted. 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「Sōsaku-hanga」の詳細全文を読む スポンサード リンク
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