This vertical image is of a waterfall flowing down the side of a hill. It is the middle of the waterfall and the upper and lower portions are not visible. The water on the right hand side appears to be stronger than the left, creating a larger splash.
Two monkeys are seen at the base of a waterfall. They are painted in soft shades of gray and sit among plants. The monkey on the right fidgits with its hands, while the other looks over its shoulder at the waterfall.
Two monkeys are seen at the base of a waterfall. They are painted in soft shades of gray and sit among plants. The monkey on the right fidgits with its hands, while the other looks over its shoulder at the waterfall. They appear relaxed, listless, or bored.
Yoshida Hiroshi, living during the time when the Creative Print (sôsaku hanga) movement was gaining strength in the 1920s and 1930s, was not a member of the Creative Print movement. Unlike those sôsaku hanga artists who did everything themselves, Yoshida Hiroshi had carvers and printers produce his prints. Yet, unlike the traditional Ukiyo-e artists, he assumed the supreme authority over the production process, supervising the carvers and painters.
With his training in Western-style painting with oil, Yoshida Hiroshi had incorporated such skills into his woodblock printing and created unprecedented and original prints of the time. Landscape was a major theme of his works; he depicted not only scenes of Japan but also those of abroad. This print might have been from his United State series.
This print illustrates a scene in a jôruri play based on history. Ishidômaru is the childhood name of a figure better known to history as Kûkai, the early 9th-century founder of the Shingon sect of Buddhism in Japan. In this scene, the child Ishidômaru has come to the remote mountain of Mt. Kôya in search of his father, a warrior who had taken the tonsure. When the two finally met, the father refused to recognize his son. The rejection of family ties was one of the basic tenets of monastic life in Buddhism.
An intricate ecology of plants grows up this mountainside landscape. Two men walk in a clearing below a building. A waterfall flows downward on the upper left, below calligraphic text.
Ink painting landscape of a waterfall at Milky Way Cave, a topographical landmark in the suburbs of Taipei. A scholar, identifiable by his robe and staff, walks down a mountain path. The bamboo grove in the middle ground serves as a metaphor for the scholar/hermit in Chinese art and literature. As the scholar in this piece holds a bamboo staff, he is considered to be a high-minded scholar.