Hibiscus and the Seasonal Woodblock Prints of Japan

Within traditional Japanese culture has long been an appreciation of ephemeral beauty. Nature serves as a reminder of this impermanence, particularly the change that comes with each passing season. As a theme for Ukiyo-e woodblock prints, seasonal prints routinely feature flora and plant-life that mark a particular time of the year.

Toward the end of summer is when the Hibiscus comes into bloom. Known as Fuyo, its large petals change colour, from white to pink to red, as each day moves into night. These distinctive flowers have appeared in prints by masters of Ukiyo-e, including Hokusai (1760-1849) and Hiroshige (1797-1858).

As with other sub-genre’s, the Shiki-e seasonal prints were bound by the technical limitations of the contemporaneous woodblock craft. But rather than being a disadvantage, the inhibition of what was feasible spared the artist from undue technical choices.

“The ukiyo-e artist needed to work within the limitations of the woodblock medium, but this restriction led to greater creativity, resulting in some of the most distinctive and influential art ever created.”

Japanese-American woodworker and author – Toshio Odate

Like the impermanence of the seasons, the woodblocks deteriorated with use. The first two hundred prints, said to be the number that could be produced in one day, were referred to as shozuri (first impression). These were produced under the artist’s supervision. As the printing blocks became worn the lines in the resulting prints became less crisp. During the initial run the artist had control over the printing process, which is why shozuri were considered a better reflection of the artist’s intent.

Giclée printed onto archival quality 308gsm Hahnemule paper, this unique art-print is available unframed. The square format is equal to a 12 inch record sleeve, making suitable frames easy to find. Available to order via the online shop.

Bicolour Chrysanthemums, with Poem by Chiyo-ni

In Japan the use of flowers in traditional artwork has much to do with the appreciation of temporal beauty. It is part of an underlying harmony with nature that permeates Eastern Philosophy. Irrespective of their cultural associations, what find throughout global traditions is that flowers give a decorative touch. This has been evident not only in woodblock prints and oil paintings, but also in fabrics, crafted artefacts, and with a myriad illustrated surfaces.

The use of flower visuals within different societies ought to be of little surprise. When in their natural setting, the teleologic aim of each blossom is to avoid being overlooked; plant reproduction relies on it. Similarly, the human eye is not immune to the attractiveness of a flower in bloom, be it real or illustrated. In spite of the likelihood of cliché, this has remained a timeless subject, spanning the artwork of bygone economic systems, to the markets that operate in the present day.

“The art of the past no longer exists as it once did. Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose.”

Ways of Seeing – John Berger

The Haikus of Chiyo-ni

Chiyo-ni was a poet of the Edo period, and one of few prominent female writers of that time. From an early age her work showed much promise, and at age twelve she began to study under the disciples of the pre-eminent Matsuo Bashō. Her work is noted for the careful study of what was around her, and emphasis a harmony with nature. In later life she became a Buddhist nun, and continued to write haiku while living in peace with the outer world.

Bicolour Chrysanthemums (2024) is part of an ongoing exploration of Japanese visual culture. The featured poem is by Chiyo-ni:

黄菊咲く
野辺の秋風
静かなり

Yellow chrysanthemums bloom,
Autumn breeze in the fields—
So quiet.

Giclée printed onto archival quality 308gsm Hahnemule paper, this unique art-print is available unframed. The square format is equal to a 12 inch record sleeve, making suitable frames easy to find. Available to order via the online shop.

Poppies, with Poem by Masaoka Shiki

Throughout traditional Japanese culture there has been a profound reverence of nature. Man is viewed as a part of nature, not apart from it. This outlook was manifested in the traditional arts, including the artwork made for woodblock printing. Flowers were appreciated for their ephemeral beauty, and appeared as part of landscapes, floral patterns on fabrics, adornments, and could be the centrepiece an entire artwork. Bird and flower prints, known as Kacho-e (花鳥絵), gave a closer look at the intricacies of each species and underscored a particular season. Poppies are closely associated with the spring, and mark the transition into summer.

Floral depictions were greatly enhanced by the application of multiple colours in the late 1700s. This development was welcomed by the public who bought ukiyo-e (floating world prints). The need for each colour to have its own hand-carved block meant the workshop production became more complex, and raised the importance of coordination between artist, carver, and the printer.

The Haikus of Shiki

Masaoka Shiki was a poet of the Meiji era and is considered among the great masters of Haiku. After moving to Tokyo he worked with Nippon Newspaper and edited a Haiku magazine called Hototogisu (Cuckoo). He particularly favoured realistic observations of nature, and advocated for innovations that would revitalise the writing of haiku. His efforts likely helped ensure the genre’s continuation while Japanese society was being exposed to western artistic culture.

Poppies (2024) is part of an ongoing exploration of Japanese visual culture. The featured poem is by Shiki:

風ふけば
けしの花散る
夕べかな

When the wind blows,
poppies scatter —
evening.

Screen printed onto high quality 300gsm paper, this limited edition has been hand printed by the artist. The square format is equal to a 12 inch record sleeve, and can be easily framed. Available to order via the online shop.

Ferns and Hellebores, with Poem by Masaoka Shiki

Among Japan’s traditional woodblock prints, the customary inclusion of nature became one of their recognisable hallmarks. Depictions of landscapes, coastlines, plant life and flowers beautified the hand-crafted prints, and lent themselves to being hung on the walls of people’s homes. 

Japan‘s woodblock printing enabled mass production of Ukiyo-e; pictures of the pleasure districts of Edo. The heyday of this workshop printing approach has long passed (17–19c.), mainly due to the arrival of western printing technology. Nonetheless, the woodblock tradition was preserved by the latter Shin-hanga movement (early 20c.). Many of the subjects seen in Ukiyo-e were revisited, and as before there was an unmissable connection with nature. Where they differed was the incorporation of Western techniques, such as realism in lighting, the absence of contour lines, and the eschewal of large areas of flat colour. 

Unlike the local market for Ukiyo-e prints, Shin-hanga were exported to satisfy western demand. This would likely have continued, were it not for the Second World War. There was only a marginal post-war revival of Shin-hanga, with some renewed interest in the genre since the early 21c.

The Haikus of Shiki

Masaoka Shiki was a poet of the Meiji era and is considered among the great masters of Haiku. After moving to Tokyo he worked with Nippon Newspaper and edited a Haiku magazine called Hototogisu (Cuckoo). He particularly favoured realistic observations of nature, and advocated for innovations that would revitalise the writing of haiku. His efforts likely helped ensure the genre’s continuation while Japanese society was being exposed to western artistic culture.

Ferns and Hellebores (2024) is part of an ongoing exploration of Japanese visual culture. The featured poem is by Shiki:

小庭にも
蕨生ひたる
植込みかな

In the small garden,
ferns have grown
among the plants.

Screen printed onto high quality 300gsm paper, this limited edition has been hand printed by the artist. The square format is equal to a 12 inch record sleeve, and can be easily framed. Available to order via the online shop.

Four White Chrysanthemums, with Poem by Masaoka Shiki

Of Japan’s printed flowers, the chrysanthemum is perhaps its most recognisable. The country’s economy expanded during the Edo period, which brought about market growth for mass-produced woodblock prints. This affordable artwork was permeated by Japan’s cultural reverence of nature.

Among the pictorial subgenres that emerged, flowers were regularly incorporated. Particularly within Shiki-e (seasonal prints) and Kachō-e (bird and flower prints). Of the many flowers, the blossom of the chrysanthemum became an oft-seen motif. Their cultivation in Japan led to a multitude of colours and petal formations, many of which appeared in the artwork. Not only decorative; to this day they are considered a symbol of honour and nobility, and still used for Japan’s Imperial Seal. When trade with the west was resumed in the mid 19c., this and other flowers adorned the crafted objects and prints that informed European Japonisme.

Many schools emerged within ukiyo-e, enriching the pictorial subjects, and the techniques with which they were depicted. These schools extended the lineage of accomplished artists, fostering a market that delighted in small printed artwork that could be hung in the home.

The Haikus of Shiki

Masaoka Shiki was a poet of the Meiji era and is considered among the great masters of Haiku. After moving to Tokyo he worked with Nippon Newspaper and edited a Haiku magazine called Hototogisu (Cuckoo). He particularly favoured realistic observations of nature, and advocated for innovations that would revitalise the writing of haiku. His efforts likely helped ensure the genre’s continuation while Japanese society was being exposed to western artistic culture.

Four White Chrysanthemums (2024) is part of an ongoing exploration of Japanese visual culture. The featured poem is by Shiki:
菊の香や
白き紙の
刷毛ふる

The fragrance of chrysanthemums
on white paper,
the brush strokes fall.

Giclée printed onto archival quality 308gsm Hahnemule paper, this unique art-print is available framed. Drop an email if interested.

Camellias in Snow, with Poem by Masaoka Shiki

Native to most parts of Japan, the camellia (tsubaki) is among the more popular Japanese flowers. An evergreen which usually begins to flower in January, it is known to some as the rose of winter. When they fall from the trees, known as ochitsubaki (落ち椿), they do so intact rather than shedding petals, thus carpeting the ground in blossoms. It is of little surprise that fallen camellias have long been portrayed in Japanese poetry and literature.

As nature was typically incorporated into poems, it also featured in the corresponding artwork. The poets of Japan would often have their work appear in privately commissioned woodblock prints, known as Surimono (printed thing). These were routinely commissioned by poetry societies and produced in small numbers to be given as personal gifts. This afforded a way for nascent techniques and artistic ideas to be tested. The absence of commercial considerations also encouraged the use of high end printing materials, resulting in what might now be called deluxe editions.

Though Woodblock printing continued, its role in mass printing and publishing declined after the Meiji Restoration (1868). This reestablished practical imperial governance, which in turn precipitated increased trade and rapid industrialisation. What is more, this ended Japan’s policy of sakoku (locked country), during which Japanese commoners were not permitted to leave, and foreigners were almost entirely prohibited.

The Haikus of Shiki

Masaoka Shiki was a poet of the Meiji era and is considered among the great masters of Haiku. After moving to Tokyo he worked with Nippon Newspaper and edited a Haiku magazine called Hototogisu (Cuckoo). In his poems he particularly favoured realistic observations of nature, and advocated for innovations that would revitalise the writing of haiku. One might argue that his efforts helped to ensure the genre’s continuation at a time when Japanese society was being exposed to western artistic culture.

Camellias in Snow (2024) is part of an ongoing exploration of Japanese visual culture. The featured poem is by Shiki:
椿かな見れば散るものかな

Looking at camellias,
one sees they must fall.

Giclée printed onto archival quality 308gsm Hahnemule paper, this unique art-print is available framed. Drop an email if interested.