Woodblock Print by Katsuyuki Nishijima, "Aburahi in Spring" (Aburahi no Haru)

Sale price$195.00


Woodblock Print by Katsuyuki Nishijima, "Aburahi in Spring" (Aburahi no Haru). Limited edition print, #46 of 500. Features artist's signature and red seal. Ca. 1980's. Horizontal format; H. 10"(25.5cm) X W. 14.75"(37.5cm). Very good condition, with slight paper separation in about 3" (8cm) of top margin from previous framing tape (see image #7). *Fully matted, framed, & delivered option may be available for local purchasers (I-5 corridor from Seattle to Blaine, WA). Please contact for details.  

A narrow road winds through a residential area of Aburahi, which is close to the pottery town of Shigaraki; in Kouka City, Shiga Prefecture. Besides pottery, the region is also known for 1,100 year-old Aburahi Shrine, and a long history of a flourishing Ninja population.

Katsuyuki Nishijima, 1945 – present.

Katsuyuki Nishijima was born in Yamaguchi Prefecture at the southwest end of the main island of Honshu. At the age of 19, he started studying the art of woodblock printing making at the Mikumo Publishing Company in Kyoto. By the early 1970’s, he was beginning his career as a Sosaku Hanga (Creative Print) artist. As opposed to traditional woodblock prints of the 19th Century and earlier that were created by a team of artisans composed of designers, carvers, colorists, printers, and publishers; the Sosaku Hanga movement of the 20th Century highlighted the work of artists who self-drew, self-carved, and self-printed their own expressive works. Nishijima is a very popular contemporary Kyoto print artist and his works have been collected and exhibited widely in Japan, the US, and Europe.

Nishijima’s works could be called “romantic” in that there is something idealized and old-fashioned about his images. They rarely contain people; or modern elements such as cars, telephone wires, or even the ubiquitous Japanese trains. They focus on architectural elements such as tiled and thatched rooftops, verandas, noren shop curtains, the wooden latticework in front of Kyoto machiya buildings, stone walls, as well as Japanese rural landscapes. While these could be considered romantic and detached from reality, these elements still exist in modern-day Japan and are what visitors are drawn to and remember in places like Kyoto, Shigaraki, Takayama, and the like. One could say that instead of romanticizing Japanese scenery, he’s actually bringing out the essence of what is beautiful and important in humanity’s view of traditional Japan.

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