Helen Frankenthaler, Woodcuts, and the Tale of Genji
Sheldon Museum of Art
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09/22/2020
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Description
Karen Kunc, artist/printmaker and emeritus Willa Cather Professor of art, and Ikuho Amano, associate professor of Japanese at the University of Nebraska–Lincoln, give insight to Helen Frankenthaler’s “Tales of Genji I,” a thirty-four-color woodblock print inspired by the world’s first novel. The event is moderated by Melissa Yuen, associate curator of exhibitions at Sheldon Museum of Art.
“The Tale of Genji,” written in the early years of the eleventh century by Murasaki Shikibu, a lady-in-waiting in Japan’s imperial court during the Heian period, follows the life of fictional Prince Genji, the disowned son of an ancient emperor.
Frankenthaler’s “Tales of Genji I” was acquired by Sheldon Museum of Art in 2020. For more information visit sheldonartmuseum.org/exhibitions/tales-of-genji-i.
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- [00:00:10.400]A warm welcome to you all we're really excited to have so many people joining us for this virtual event
- [00:00:18.240]And i'd like to uh point out before I really begin that we do have live captioning this evening
- [00:00:25.039]So for anyone who?
- [00:00:27.599]would like or needs
- [00:00:29.900]captions, please
- [00:00:31.679]Know that that is currently happening
- [00:00:34.719]so welcome to helen frankenthaler woodcuts and the tale of genji a conversation with karen koontz and ikuho
- [00:00:43.340]Amano, i'm aaron hannes curator of academic engagement at sheldon museum of art and i'm delighted to introduce this
- [00:00:51.199]program
- [00:00:52.719]For this evening and the participants
- [00:00:55.199]We are thrilled to have so many people joining us for what promises to be a stimulating conversation
- [00:01:03.280]I would like to thank the nebraska arts council
- [00:01:06.640]And nebraska cultural endowment as well as the hixson lead endowment for making this event possible. So, thank you
- [00:01:15.360]The mission of sheldon museum of art is to inspire inquiry and discovery through our collections
- [00:01:23.020]exhibitions
- [00:01:24.159]And programs across the university of nebraska
- [00:01:27.600]The state and beyond and this pro this evening's program really embodies this aim
- [00:01:34.560]the idea for today's conversation
- [00:01:37.040]grew out of our career
- [00:01:38.860]Curiosity to learn more about one work of art helen frankenthaler's large 34 color wood block print
- [00:01:46.560]Tales of genji one which was recently acquired by the museum
- [00:01:52.799]Questions we asked included. What was the process for creating this print?
- [00:01:57.920]What is the tale of genji about?
- [00:02:00.399]What is the relationship?
- [00:02:02.479]between frankenthaler's print and the 11th century japanese novel
- [00:02:08.080]It became clear to us that frankenthaler's woodblock print had the potential to generate a rich discussion
- [00:02:15.360]across disciplinary boundaries
- [00:02:17.599]And what better place to look for conversation partners than the university of nebraska-lincoln community?
- [00:02:24.239]That we are fortunate to be part of
- [00:02:27.040]luckily for us
- [00:02:28.560]and for you all karen coons and ikuho amano agreed to share their knowledge with us and
- [00:02:35.180]melissa ewan graciously agreed to moderate
- [00:02:38.640]It is now my pleasure to introduce this evening speakers
- [00:02:43.440]Karen, koontz is a prolific printmaker and artist. She has had 110 solo exhibitions and received numerous awards
- [00:02:51.680]She is professor emeritus of art at the university of nebraska-lincoln where she taught from 1983
- [00:02:58.159]to
- [00:02:59.180]2020
- [00:03:00.319]since 2013
- [00:03:01.920]She has also been the founder director and owner
- [00:03:05.519]Of constellation studios a creative gallery workspace and professional classroom for print paper
- [00:03:12.239]and bookmaking in lincoln
- [00:03:14.879]Karen's prints and artist books stem from her contemplation
- [00:03:18.480]Of the forces of the natural world ephemeral encounters and the immeasurability of time and distance
- [00:03:26.319]Born in omaha, nebraska, she received her bfa from the university of nebraska-lincoln
- [00:03:32.000]And her mfa from the ohio state university
- [00:03:36.540]Ikuho amano is an associate professor of japanese
- [00:03:40.640]at the university of
- [00:03:42.299]nebraska-lincoln her areas of research and teaching include modern japanese literature popular culture
- [00:03:49.760]film and language
- [00:03:52.080]Her recent research has explored japan's decadent literature in comparative contexts
- [00:03:57.659]material culture and body politics in the post-world war ii decades
- [00:04:03.200]She is currently
- [00:04:05.340]Contemplating a book project on japan's economic bubble in the 1980s and its consumer culture
- [00:04:12.720]Originally from osaka. Japan. Ikuho read the tale of genji in high school
- [00:04:17.759]She went on to receive her ba and m.a from the university of georgia and her pa ph.d from pennsylvania state university
- [00:04:26.720]Melissa, ewen is the associate curator of exhibitions at sheldon museum of art she holds an m.a and phd in art
- [00:04:34.479]history from rutgers the state university of new jersey
- [00:04:38.639]Prior to working at sheldon. Melissa was the curatorial fellow of european and american art to 1900
- [00:04:45.759]At cantor arts center at stanford university
- [00:04:49.600]and a jane and whitney morgan fellow in the department of european paintings at the metropolitan museum of art
- [00:04:57.759]Melissa, I turn it over to you now
- [00:05:01.039]Thank you. Erin. Um, thank you for
- [00:05:03.759]The introduction and I would like to echo and really welcome
- [00:05:08.560]Um every echoes echo aaron's remarks and really welcome everyone who is joining us today
- [00:05:15.520]So I will first begin with an overview of on the exhibition that really spawned. Um
- [00:05:21.759]That served as the genesis for this event today
- [00:05:25.840]so
- [00:05:27.120]As we see we have helen franken dollars tale of genji one installed in our focus gallery
- [00:05:33.919]On the second floor of the sheldon museum of art and this is a very intimate exhibition where it allows
- [00:05:40.960]really for a focus on the print itself and I show here helen frankenthaler's tale of genji one and
- [00:05:48.940]Frankenthaler, she's one of the most innovative artists working in new york during the second half of the 20th century
- [00:05:54.720]So i'm really excited to see the kinds of conversations that we will be able to have tonight
- [00:06:00.160]so the goal of this exhibition, um is to really highlight the
- [00:06:05.020]Extraordinary and the collaborative process that was undertaken
- [00:06:09.840]to make this print
- [00:06:11.919]Some of the process is detailed in this brochure, which will be which are available in the gallery
- [00:06:18.639]And for those um who are unable to visit the exhibition in person
- [00:06:23.840]Um, I welcome I direct you to the sheldon's website where um a digital brochure is also available
- [00:06:32.319]So let's let us now turn our attention to frankenthaler's print as we see it is a large print. Um, it measures
- [00:06:40.539]42 by 47 inches
- [00:06:43.039]And this is a print that originated as a silk stain painting where?
- [00:06:47.580]Frankenthaler poured diluted acrylic paints onto a sheet of plywood
- [00:06:52.319]And then the printmakers at tyler graphics. Um
- [00:06:54.720]Then translated it into a wood block print into the wood block print that we see here so they ended up
- [00:07:00.780]Replicating the pooling and really the layering
- [00:07:03.599]Of the acrylic paints that frankenballer used and I show here two details and we can see the lovely
- [00:07:10.400]pooling and the staining that we see and we can also see how
- [00:07:15.199]the the paper itself really even has the wood grain built into it and the print really
- [00:07:21.180]Extends to the edges of the sheet and really soaking in and really pulling again in the decal of the sheet as well
- [00:07:29.039]And this is a process that um karen will talk more about in shortly
- [00:07:34.720]so
- [00:07:35.759]This print is the first in a series of six prints inspired by the 11th century novel tale of genji written by
- [00:07:43.360]murasaki
- [00:07:44.400]Shikibu a lady in waiting in the jack in japan's imperial court
- [00:07:49.039]So before we turn our attention to the making of the print
- [00:07:52.479]Um i'd like to start this conversation off with a question to a cuho
- [00:07:56.479]Um, can you please give a brief almost like a cliff notes style summary of what the tales of genji is about?
- [00:08:03.199]yes, actually it is a very kind of daunting task because uh, it is such an
- [00:08:08.720]Old and a long novel and all together and the tale of genji consists of 54 chapters
- [00:08:15.440]And the first 44 chapters there with the and the life of hikaru genji the protagonist of this novel
- [00:08:22.960]Um, he was born to be um on the prince in the imperial court
- [00:08:27.919]um
- [00:08:28.400]His father was an emperor of the time and his mother was actually on the lower left concubine
- [00:08:34.719]And because of mother's upbringing on the poor social background
- [00:08:39.440]He was um, this genji karugenji was um removed from the line of succession
- [00:08:45.440]so on the most of the story actually pretty much from the chapter two and on there with um,
- [00:08:52.160]his sense of despair and the
- [00:08:54.860]resignations and as a result he enters in that numerous love affairs, including um,
- [00:09:01.820]someone's wives and
- [00:09:03.680]Including actually his father emperors and wife as well. And as a result, he actually produced one
- [00:09:11.040]Uh, the sacred child out of um their affairs
- [00:09:14.640]Um, but also at the same time he is being deceived by his other wife
- [00:09:20.160]um
- [00:09:21.120]and also well
- [00:09:22.480]There are so many ups and downs in his life mostly just through um his intimate relationship with numerous women
- [00:09:30.320]um, but um he end up having a just
- [00:09:34.399]Enough, but the four wives uh, recognize the four wives
- [00:09:38.320]Um, but um, but he has been always in love with on the one woman whose name is murasaki norway. Um,
- [00:09:46.640]and
- [00:09:47.360]She passes away when she was only 7 and 37 years old
- [00:09:51.519]Um soon after the genji actually loses all his energy
- [00:09:56.140]Himself, and I decided to on the retire from this. Um
- [00:10:01.440]The life in the court imperial court, and so he enters in that kind of monastic life in the mountain
- [00:10:07.920]And so the last chapter last chapter, which i'm dealing with
- [00:10:12.399]his life for the chapter 44, um, which contains only the title, uh, just
- [00:10:19.200]somehow we can translate just disappearing behind the crowd or something and it's
- [00:10:24.640]That other chapter is just remain blank, but the leader definitely um doesn't you know suspect that he already passed away
- [00:10:33.200]um and the remaining 10 chapters there with uh, um,
- [00:10:37.920]his other hikaru genji's the son and
- [00:10:41.600]Um, the grandson's life and they are kind of continuous on the love affairs almost like taking over
- [00:10:48.000]um, the genji's uh, you know, persona, um,
- [00:10:51.360]As a womanizer pretty much. So yeah just to make make it so this could be the understudy of the story
- [00:10:59.519]It sounds almost like it's a really scandalous novel in a way, right? Um, so
- [00:11:05.040]I know that the tale of genji as a novel is really important in um
- [00:11:09.420]Pre-modern japanese culture, and I know that you've also gathered some really interesting images illustrating different scenes from the novel
- [00:11:17.279]Um, do you think we can talk through some of them and talk through some very specific moments?
- [00:11:21.839]Like yes, absolutely. And actually, you know, I
- [00:11:24.959]Really say, excuse me. Can we just go back to another of course?
- [00:11:29.519]Yes, I just wanted to share this image with everybody because last year at the metro mall and metropolitan museum
- [00:11:36.399]Um of us in new york, actually the featured the terrible genji
- [00:11:41.339]Collection. Um most most of the actually was uncollected from
- [00:11:46.240]you know the pre-modern um
- [00:11:47.519]The productions of all these images so I think we are really kind of in a timely fashion
- [00:11:54.000]We are also dealing with this topic
- [00:11:56.560]So thank you. Let's just move on. Okay
- [00:11:59.680]Thank you. Um
- [00:12:01.279]This is actually
- [00:12:03.120]This thing is oftentimes, uh used for many famous, um exhibitions including the one in the metropolitan museum
- [00:12:10.480]uh in new york, but
- [00:12:12.720]uh this thing already actually depicts, um a moment when already that genji cargenji the protagonist,
- [00:12:20.720]passed away
- [00:12:22.000]and
- [00:12:23.200]here actually the main character the most and the important and the protagonist here in this moment is uh
- [00:12:29.279]there's the woman just showing um, how
- [00:12:32.320]Just long hairs long floating hairs, uh in the um facing us back to back
- [00:12:38.160]She is such a beautiful. Um this woman
- [00:12:42.480]who became a kind of english illegitimate child of and one on the imperial family members and but um
- [00:12:51.279]Hikaru genji's on the sun and also grants some bosoms and actually try to make advance to this woman
- [00:12:57.920]And out of this kind of caught in the middle, um coding between the two menstruations, uh, she becomes kind of neurotic
- [00:13:05.360]um the difficult time she's having and the woman actually next to her is reading a sort of um,
- [00:13:12.880]A picture scroll and some stories, um kind of folk there and trying to console this lady
- [00:13:19.760]So this is a moment
- [00:13:21.760]and I want to point out that um this hands this is
- [00:13:25.680]An a scene from a larger hand scroll and I want to point out the date. It dates to about 11 30
- [00:13:31.920]So it's a 12th century hand squirrel made not long after. Um
- [00:13:36.560]The text was written
- [00:13:39.760]And in this particular work, we see kind of several um characteristics of japanese painting of the period most notably, you know
- [00:13:46.399]This is an interior scene
- [00:13:48.079]But the only reason why we as viewers can see into it is that the artist has decided to take the roof off the building?
- [00:13:54.480]So we're we we have this. Um
- [00:13:56.320]Sort of bird's eye view looking into the scene and that's why we see the expansive interior as well
- [00:14:04.860]Absolutely, and we keep seeing that and the same images just kept on being produced one after the other up until um
- [00:14:12.720]The 17th or 18th century?
- [00:14:17.760]And this is a thing actually, um when um,
- [00:14:21.199]genji
- [00:14:22.240]Um is just trying to cross the mountain past. Uh, there's a um,
- [00:14:27.600]it is a very kind of trivial scene because uh
- [00:14:32.399]He and himself and also his kind of servant uh was trying to just um
- [00:14:38.720]Make a temporary. Um
- [00:14:40.800]kind of army life for a while because uh this
- [00:14:44.880]This practice actually is pretty often seen in a pre-modern time. Uh, there is a so-called
- [00:14:52.079]um
- [00:14:55.440]And ancient japan follows pretty much like a chinese calendar, uh, and sort of the idea of food three, uh in the many
- [00:15:02.639]You know the everyday practice
- [00:15:05.440]in this thing actually so um
- [00:15:08.560]the imperial court members was uh that told that
- [00:15:11.680]Okay that this um
- [00:15:12.639]the particular setting of the imperial court in today's kyoto is
- [00:15:17.600]Kind of under attack of some evil spirit or something like that
- [00:15:21.040]So just momentarily they are trying to apply across the pa and the mountain plus and in the middle. This is also an
- [00:15:28.560]important scene because while they were taking a kind of on the temporary detour, um
- [00:15:34.800]Hikaru genji is just meeting on the beautiful woman whose identity is still unknown to him
- [00:15:42.720]and um just briefly about you know, the formal qualities the visual qualities of this work despite its
- [00:15:49.199]rather problematic condition issues
- [00:15:52.959]The figures seem to be floating and i'm just going to leave that right now because we will return to this idea of floating. Um,
- [00:16:01.360]as we continue with our discussion
- [00:16:06.880]And then these are two 17th century picture albums again, we see, you know the blown off roof and the kind of similar
- [00:16:14.320]Um expansive interior as well
- [00:16:18.779]Absolutely, um, yes, these are left's left, uh image actually in the depict the moment when ander genji meets
- [00:16:27.360]um
- [00:16:28.160]Kind of old retired and buddhist monk who is residing the area called the akashi
- [00:16:32.959]And she's today's seaside result across to osaka in the kobe area in japan. Um
- [00:16:39.839]she is meeting this man and initially he didn't have any intention but
- [00:16:44.880]His other young daughter happened to be beautiful and very intelligent very refined. Um,
- [00:16:51.440]the woman although um, they are living in the um,
- [00:16:55.440]in the kind of countryside and at this moment he
- [00:16:59.420]Is actually in the exile, uh, he just happened to be in a trouble by
- [00:17:04.799]actually having a really intimate moment with
- [00:17:08.240]Kind of his political enemies and the daughter and he was just caught by the moment by the father
- [00:17:14.939]Observer and woman in anyway, so because of this and kind of instant he's in the inside
- [00:17:19.760]Um, so he's enjoying a sort of kind of moment
- [00:17:25.520]How can I say penicillin um more philosophical content on
- [00:17:29.980]philosophically kind of contemplative moment together with this buddhist monk
- [00:17:34.799]And um and also we can maybe take a look at this light
- [00:17:39.600]Right-handed image. Um
- [00:17:41.440]Oh the writing image whoops. I'm, sorry. There we go
- [00:17:44.559]Thank you. Thank you. Melissa. Um
- [00:17:47.360]so right hand image actually depicts a moment when the genji found, um for the first time, um,
- [00:17:55.679]Is his future wife?
- [00:17:59.039]When she was still 10 years old pretty much as a you know
- [00:18:03.840]Young children child. She used to be in this scene and she was just
- [00:18:08.720]Chasing um, you know, like a sparrow
- [00:18:12.000]little bird
- [00:18:13.440]So he was and she was just such a you know, the young adorable. Um
- [00:18:18.400]um, just a girl and but he is developing kind of interest in her and later takes her into
- [00:18:25.760]Her um the court life and eventually she becomes our most important wife in his life
- [00:18:32.160]And then our final um early modern image
- [00:18:37.039]Yes, this one parks, you can just kind of decipher what is going on and the genji is trying to make advancement
- [00:18:43.280]Uh to a wonderful woman and this is actually uh, someone's wife. Um,
- [00:18:49.360]and and you know, just in order to sneak into her mansion, uh, she needed to get a
- [00:18:56.400]support from someone so
- [00:18:59.039]The long-haired uh, you know another character on the left left hand corner
- [00:19:04.320]um, he he actually said I became a um,
- [00:19:08.960]Go between and he let anna genji into this mansion so she is in trouble. But uh
- [00:19:16.880]He is taking the pressure
- [00:19:19.840]Well, thank you for that cuckoo, um, so as we can see, um,
- [00:19:24.640]There is such a rich visual culture in early modern japanese. Um
- [00:19:29.520]During the early modern japanese
- [00:19:31.740]period and
- [00:19:33.840]so if we turn our attention back to frankenthaler's print it is evident that um,
- [00:19:39.100]Frankenthaler really deviates from these depictions of the tales of genji that we've been looking at so far
- [00:19:45.360]and she deviates um from them in really significant ways like
- [00:19:50.160]For her the print itself
- [00:19:52.640]And the series the tales of genji. Um
- [00:19:55.440]They're abstract images and they do not depict specific moments from the text
- [00:20:00.559]And also frankenthaler isn't really working within you know
- [00:20:03.440]The traditional japanese scroll painting that we've briefly alluded to and instead
- [00:20:08.640]um
- [00:20:09.039]She turns to the technique of woodblock printing
- [00:20:12.559]So now I would like to turn it over to karen to talk to us briefly about um the history of this kind of printing
- [00:20:20.720]Thank you
- [00:20:22.480]Well, I I wanted to begin with the idea that helen frankenthaler
- [00:20:27.440]Was a significant printmaker throughout her career. She made prints
- [00:20:32.880]in etching and lithography as well as woodblock throughout all that time and this pivotal work of
- [00:20:40.559]Helen's essence mulberry from 1977
- [00:20:44.240]is a landmark print that
- [00:20:47.440]was part of the wood block revival and innovation that
- [00:20:53.280]Kind of grew out of the 70s and the 80s
- [00:20:56.799]And the print itself is not done in the japanese method it was done in the western oil base block printing method
- [00:21:04.159]but it carries so much of the
- [00:21:06.380]aesthetics that helen is
- [00:21:08.559]famous for
- [00:21:09.840]the kind of flowing space the abstraction
- [00:21:14.559]The
- [00:21:15.820]gestures made by brush strokes the pouring of paint
- [00:21:20.059]Translated into the wood block print
- [00:21:22.880]this one actually features the paper itself so much because the lower section that yellow is the
- [00:21:29.600]pure paper
- [00:21:31.280]And uh, this was such a beautiful print influenced a lot of us
- [00:21:36.559]um
- [00:21:37.600]right away and i'll talk about it a little bit more but
- [00:21:42.000]She was working at this time through the western woodblock methods which we traced through
- [00:21:48.960]europe
- [00:21:50.240]And gutenberg with using the relief surface from wood to print and using the press to cause
- [00:21:58.480]the impression to be transferred
- [00:22:01.120]So a lot of muscle was necessary to use those presses
- [00:22:05.600]Aaron, this is aaron. I'm just going to interrupt really quickly apologies
- [00:22:09.360]I'm, not sure what happened with the image of the essence mulberry, but we got a few comments that it was missing from the slide
- [00:22:17.280]Oh
- [00:22:18.000]That's too bad. I think it shows up again. Later
- [00:22:23.360]So in the next one we can see um
- [00:22:26.720]Helen frankenthaler working at tyler graphics even back
- [00:22:30.159]then tyler graphics was the publishing house that produced the essence mulberry and
- [00:22:36.000]similar other wood block prints at that time
- [00:22:39.440]and tyler graphics is famous for
- [00:22:42.720]um
- [00:22:44.059]Amazing technical feats of print making printing with gigantic presses
- [00:22:48.880]We even see the scale of one of helen's wood block prints on a hydraulic press
- [00:22:55.440]The guys are standing on the press bed itself positioning this beautiful large print
- [00:23:01.840]to be
- [00:23:03.120]Pressed from the top. So wood block prints
- [00:23:06.720]Done in the western way are always done with oil-based ink and rollers that apply the ink to the surface
- [00:23:14.080]So here's some examples the roller is the application
- [00:23:17.919]tool and um
- [00:23:21.440]The low places are carved away from the block
- [00:23:24.880]and with printers ink
- [00:23:27.740]Oil-based printers it gets very sticky
- [00:23:30.880]You have to use tools to manipulate it and rollers and when you're doing color printing you have
- [00:23:36.720]A big palette with lots of colors and lots of rollers
- [00:23:40.320]in play while
- [00:23:42.320]the printing is
- [00:23:44.559]The ink is being applied to the wood blocks
- [00:23:49.600]And yes
- [00:23:50.320]Here's still the muscle is being applied rollers big rollers in some instances the printing presses
- [00:23:57.600]Uh causing the transfer of the ink from the wood block onto the surface of the paper
- [00:24:05.919]So here's helen's, uh, essence mulberry print again
- [00:24:09.840]One of the featured qualities of this is that it uses a rainbow roll the big colorful blending
- [00:24:18.320]multiple colors on the same roller at one time which is kind of a tour de force technique that
- [00:24:25.039]sometimes can even be
- [00:24:26.940]Criticized as being a cliche but in helen's print I think it creates this transitional
- [00:24:32.880]space that she is so interested in
- [00:24:36.880]Which carries over into all of the tales of genji prince as well?
- [00:24:41.600]so great big rainbow roll was done with
- [00:24:44.880]The blending of the colors. I remember hearing at the time even uh, helen, uh,
- [00:24:50.960]Ken, tyler was discussing making this print and that helen was searching for just the right red and they were eating mulberries
- [00:24:59.340]In or raspberries off of the tree in the yard, and she said it's this color that I need. So they
- [00:25:06.880]managed to mix that beautiful
- [00:25:09.279]color
- [00:25:10.559]Erin, um, we have one question
- [00:25:14.320]from
- [00:25:15.200]terry power
- [00:25:17.279]Did the oil-based inks make those larger prints possible?
- [00:25:24.480]I think one of the features of oil-based ink is that it doesn't dry out fast
- [00:25:29.440]So you have a long working time and you can ink up these large blocks and it may take several
- [00:25:37.679]Sometimes it takes me an hour to ink up my block and the inks stay fresh and wet
- [00:25:42.480]and you're able to
- [00:25:44.320]Continue printing all day long with those wet inks
- [00:25:48.640]So it could have been something that was
- [00:25:51.279]lending
- [00:25:52.480]A quality to that it was how we were interested in doing prints. Uh, even at that time with all the
- [00:26:00.320]uh
- [00:26:01.279]western approaches
- [00:26:03.600]And and one more sort of related. Um, if you could explain the rainbow roll in a little more detail, okay?
- [00:26:11.360]The rainbow roll or they call it a split fountain
- [00:26:14.880]Several terms for it means that you put two colors on the glass slab close to each other
- [00:26:21.440]and
- [00:26:22.240]Dip the roller into the edge of it and pull it out and it just naturally as you roll on the glass
- [00:26:28.559]It naturally creates a blend down the middle
- [00:26:32.159]and
- [00:26:33.039]So you can have those colors transition
- [00:26:36.880]some of these examples are
- [00:26:38.720]Really incredible to have fiber so colors blending all at the same time. It's very tricky. They could end up
- [00:26:46.779]Contaminating each other if you don't roll in a track
- [00:26:50.480]So even the guy holding that big blend looks pretty amazing. He's pretty proud of himself
- [00:27:02.400]So
- [00:27:03.200]I wanted to contrast the western way with the eastern way
- [00:27:07.279]because
- [00:27:08.559]in asia
- [00:27:09.919]all printing was done from wood block prints for almost 2 000 years, so
- [00:27:15.440]we have
- [00:27:16.559]that tradition of using the carved wood block here are some monks that keep
- [00:27:22.460]libraries of these carved wood blocks on hand
- [00:27:26.320]their prayers they can pull them out and print some prayers off and distribute them or
- [00:27:33.120]put them out on a
- [00:27:34.640]prayer wheel and and so the text is constantly able to be
- [00:27:39.679]uh reused
- [00:27:41.360]and if the block wears out another one is carved, but they're printing by hand they're using
- [00:27:47.279]Sumi ink which is a mixture of lap lamp black pigment
- [00:27:52.480]and paste and sometimes shellac and it ends up creating a
- [00:27:58.320]An ink that is applied not with rollers, but with brushes onto the wood block
- [00:28:06.000]And we know of the
- [00:28:08.240]influence worldwide influence and interest in the japanese
- [00:28:12.460]yukiowi wood block prints the height of
- [00:28:15.659]qualities and the upoe prints
- [00:28:19.760]Done in the 1600s through the 1800s
- [00:28:24.240]Mean prints
- [00:28:25.919]pictures of the floating world
- [00:28:28.240]so it was images of these ephemeral times and
- [00:28:32.299]pleasures and
- [00:28:33.760]Uh beauty that's transient time. That's transient
- [00:28:38.399]and
- [00:28:39.760]They are
- [00:28:41.020]Characteristically colorful lots of blocks tight registration amazing carving of the wood block itself
- [00:28:52.159]Here's a couple examples of the print shop
- [00:28:54.799]These were produced in a publishing house also
- [00:28:57.919]So we have that idea of multiple artisans working together to create the productions
- [00:29:04.720]And they had tasks assigned to them or they grew up learning one specialty
- [00:29:10.559]Somebody was an expert carver. Somebody was an expert printer. Somebody was the one who managed the paper
- [00:29:17.760]somebody was the specialist who could carve the hair on the
- [00:29:22.779]Coiffers of those beautiful
- [00:29:25.340]Geishas, we have examples here of these print shops of division of labor one is a parody
- [00:29:31.520]It's all these beautiful geisha girls
- [00:29:35.120]Working in the print shop and that's not the case it was
- [00:29:39.360]The artisans not wearing those amazing commons, but it's such a fanciful image. It's really beautiful
- [00:29:47.919]And again, we're very fascinated by how these were made and
- [00:29:52.940]aware of the numbers of blocks that it takes to create this, uh image
- [00:29:58.640]So here's a picture of all the different blocks that were used to create the utamaro
- [00:30:05.740]woodblock print including the black block
- [00:30:09.120]That's facing the illustration
- [00:30:12.480]So numerous blocks that are carved like puzzle pieces
- [00:30:17.039]When it's printed in registration, all of those get aligned and the black key block prints on top
- [00:30:27.919]But at that time when helen was working I think there was
- [00:30:33.179]Interesting developments. Also in other publishing houses crown point press that's based in san francisco
- [00:30:40.480]Was a leader in taking western artists to japan to work with some of these traditional artisans
- [00:30:48.720]And they created a series of wood block prints
- [00:30:51.840]By famous artists, uh, william wiley and francisco clemente for example here
- [00:30:57.279]Uh, incredibly complicated prints that were made with the artisans doing a translation from a watercolor sketch
- [00:31:06.159]So it was a wonderful production
- [00:31:08.480]Uh in the 1980s when these came out it was actually quite controversial among us in
- [00:31:16.320]in the states at least because
- [00:31:19.019]Originally, they were not
- [00:31:21.419]Attributed to a collaboration. It was just here's william wiley's print and after some controversy then
- [00:31:28.559]uh crown point press now always acknowledges the artisans that were enabling these uh,
- [00:31:35.580]amazing productions to be made
- [00:31:41.039]I'm going to jump in here briefly and mention that the francisco clemente print is also currently on view
- [00:31:47.440]in our exhibition titled person of interest
- [00:31:50.480]Oh good. It's a spectacular print. And again, I think the spectacular part is the analysis
- [00:31:57.600]That it takes to figure out the special
- [00:32:00.940]Blendings and shapes and the stains from the watercolor and translate it into multiple layers of wood block
- [00:32:09.279]but I think this also set off a hierarchy of
- [00:32:13.340]Competition. So if if crown point press publishing house is doing these amazing prints and
- [00:32:19.899]collaborating with this
- [00:32:21.440]body of knowledge that these artisans in japan had then it could set in motion the next group which
- [00:32:28.399]was
- [00:32:30.399]Ken tyler at tyler graphics
- [00:32:33.600]But here we see a specialist wood carver working on carving the wood blocks
- [00:32:42.720]And the specialist printers the printers who have this knowledge and of course it's a
- [00:32:49.120]Is it a dying art? Uh, there's not as many publishing houses as there once were there people lament the loss of
- [00:32:56.960]Knowledge that it means if these people are retiring so there's uh interesting efforts to share this knowledge
- [00:33:04.880]Uh particularly i'm featuring examples from the international mokuhanga conference
- [00:33:11.440]We've had three international meetings
- [00:33:14.320]and this is one of the printers who's showing
- [00:33:17.760]How he prints in the kyoto style?
- [00:33:20.960]and you can see in the other image all the blocks that it takes to create the great wave and the great wave is
- [00:33:27.919]So famous now everybody knows this image. It's spread all around the world
- [00:33:35.360]Here's another printer printing an example of a mount fuji print
- [00:33:41.039]These are not the original blocks that were done at that time. If it was by hocus, I hope this I didn't
- [00:33:49.360]Carve the wood blocks. It was the artisans who carved the wood blocks from his designs
- [00:33:54.799]so here
- [00:33:55.919]they can recreate these and are they are recreating them for the tourist market for the
- [00:34:02.880]print collectors
- [00:34:06.480]Um here
- [00:34:08.159]we have uh eva pisaker a german artist is uh, showing the layout one of the
- [00:34:13.980]Qualities of the printing is that it's very efficient
- [00:34:17.119]Everything is lying within arm's reach. You have all your tools right there. Of course, the japanese artisans are
- [00:34:24.159]The printers are kneeling on the floor or sitting on the floor. So everything is within reach
- [00:34:31.919]And this image is showing the inking of the wood block with the brush, so everything gets colored
- [00:34:37.280]It's very different from using a roller where only the high parts are colored. So
- [00:34:42.720]It's hard to see what the image is there
- [00:34:45.200]And then the paper is positioned on the block using the special. Kento
- [00:34:50.060]registration marks that physically have a limit where the paper matches
- [00:34:56.000]And let me jump in karen briefly. Um
- [00:34:58.880]you brought up this whole idea of
- [00:35:01.359]A keyblock being the last one to be printed and that really locks in the whole composition
- [00:35:06.400]But if we look at um, helen frankenballer's print and I show here tales of genji four
- [00:35:12.079]I I don't see a keyblock here. Like I don't see that black outline, so
- [00:35:16.400]The fact that um, ken tyler and the printmakers they didn't use a keyblock in this series
- [00:35:23.200]Does it affect the printing process? Can you shed some light on that?
- [00:35:27.440]Well, I do think that
- [00:35:29.520]Helen came to this project with her
- [00:35:33.200]paintings on plywood
- [00:35:35.520]And so those were the original
- [00:35:38.780]Designs that the
- [00:35:41.420]analysis was taken from the analysis of the shapes of all the stains or the paints and
- [00:35:48.480]helen doesn't rely on a key block regardless on any of her paintings anyway, so
- [00:35:54.560]It really didn't need that
- [00:35:58.240]First drawing, but they certainly had a tracing of all these different
- [00:36:04.000]layers
- [00:36:05.200]and then those tracings
- [00:36:08.000]Were used to divide up onto the multiple blocks that were used
- [00:36:13.920]they
- [00:36:14.720]totally relied
- [00:36:16.720]Very much on the skill of a master printer there at tyler. Graphics yasuyuki
- [00:36:22.540]Shivata his skill and his collaboration is paramount to how this project came about. He was the printer
- [00:36:30.800]printing by hand using the brushes
- [00:36:33.599]And you can see him inking up these big blocks
- [00:36:37.599]and the paper
- [00:36:39.339]is tied to one edge so that it was locked into place and could be
- [00:36:45.040]Layered down like a book page, and then the pressure was applied
- [00:36:54.400]Uh these two examples um show
- [00:36:58.320]one of the specialty techniques that's so uh
- [00:37:01.900]identifiable and sought after
- [00:37:04.800]For japanese woodblock prints and that's the gradation blend
- [00:37:09.280]Where the colors are bleeding and blending into each other
- [00:37:14.400]It's called bukashi
- [00:37:16.320]And it's actually a technique used with the brushes. And while I was emphasizing the ability
- [00:37:22.320]That the brushes can do it can actually create some of these blending by the use of color on one side
- [00:37:28.800]water on the other and the pigment kind of
- [00:37:32.880]bleeds into each other
- [00:37:35.359]And you can see them putting this blend on the block itself. Helen didn't rely so much in her
- [00:37:42.480]tales of genji prince on the bukashi method
- [00:37:46.859]Ironically, she did create the illusion in that first print, uh, essence mulberry
- [00:37:55.520]But that bukashi blend is something that captivates
- [00:37:59.820]Everybody and how is that done? And it's really done on sometimes an uncut
- [00:38:05.440]area and the blending is from
- [00:38:08.160]How the ink is manipulated?
- [00:38:10.800]with the brush
- [00:38:12.640]And so pressure is applied by hand using the baron the bamboo wrapped disc
- [00:38:19.920]and pressure by muscle by
- [00:38:22.800]hand
- [00:38:23.839]impression on the back of the paper that causes that transfer
- [00:38:30.160]So
- [00:38:31.040]I think even uh
- [00:38:32.859]Shibata was using the baron to hand print helen's prince
- [00:38:38.000]So we are currently at 6 15. um in the interest of time. Why don't we
- [00:38:42.640]Move through um a number of photographs that karen you have included
- [00:38:49.200]Very briefly and maybe we can focus on helen working at tyler graphics
- [00:38:55.040]Yes, here's helen working there and you can see she carved some of the blocks but shibata carved most of the blocks
- [00:39:03.119]She's applying color with a brush there
- [00:39:06.000]She was involved in all the stages
- [00:39:09.839]But I think
- [00:39:11.920]shabata was instrumental in in doing all the different testing and
- [00:39:17.660]separating things analyzing how the colors were
- [00:39:22.720]Going to mesh together
- [00:39:27.599]They did print on specialty handmade paper made at tyler graphics, uh that
- [00:39:34.160]You can see the guys working there and then that paper
- [00:39:38.079]Had the impression of a wood block that was also
- [00:39:43.520]Carved or sanded so that the wood grain was very pronounced
- [00:39:51.359]Well, ken tyler was the empresario
- [00:39:54.560]Of this whole project too. It's his studio. It was a an amazing project lots of consultations
- [00:40:01.920]You can see all the wood blocks there and the proofs lining up where they're working and discussing
- [00:40:08.400]What to do next and how to do it. So it was a an amazing project
- [00:40:14.880]And just um looking at the number of wood blocks laid out on the floor right here in order to prove. Um,
- [00:40:21.040]to kind of prove tales of gendry three really does kind of highlight the amount of
- [00:40:26.700]Collaboration and really the intensive labor that really went into um this whole process
- [00:40:33.839]So
- [00:40:34.960]I think
- [00:40:36.560]Karen, this is your last slide. This was the slide. These are the colors. It looks like the palette
- [00:40:42.140]specifically from the print that the sheldon now owns, so
- [00:40:46.319]I I and I can tell that it's the
- [00:40:49.040]Water-based colors because they are in containers not those sticky cans and brushes are there
- [00:40:55.680]So that is even telling me it's done in this technique
- [00:40:59.280]And I think we even see a little bit of one of the wood blocks for tales of genji with you know
- [00:41:03.920]the very distinctive blue vertical elements that um, we see perhaps
- [00:41:09.760]like somewhere in here
- [00:41:11.520]so
- [00:41:12.720]Thank you. Karen. That was fascinating. Um
- [00:41:16.319]so as we like as as we have
- [00:41:19.599]seen
- [00:41:20.460]Frankenthaler's print is really part of a rich history
- [00:41:23.520]In terms of print making and in cuho in the last, um, three minutes that we have left
- [00:41:29.359]Can you talk a little bit about how um tales of genji this 11th century text continues to inspire?
- [00:41:36.480]different forms of artistic production
- [00:41:40.079]Yes, maybe we can just move on to see some of the manga images and yes, um, okay, so
- [00:41:47.040]Yes, definitely and this is because because of this and the density and the you know the volume of on the nobel
- [00:41:55.040]And the style of kenji has been constantly influencing
- [00:41:58.880]on the japanese culture and cultural discourses in the
- [00:42:02.560]in the cultural productions over centuries, and so the one of the most kind of significant achievement in
- [00:42:09.599]The past century would be maybe this adoption, uh or adaption of this. Um,
- [00:42:15.200]the novel to manga format and uh
- [00:42:17.920]Um while I was just listening to another current presentation, I was thinking, um, knowing or unknowing i'm not sure intentionally
- [00:42:26.460]Intentionally, but the manga and the artist actually uses lots of technique of pokashi and the creator gradation
- [00:42:34.000]To um, um to produce a kind of visual effect of on the characters the inner and the feelings and emotions
- [00:42:42.319]uh, and and also the creator ambience, um,
- [00:42:45.839]So, um, okay, so perhaps we don't have time to just uh talk about each images. So maybe we can just move on
- [00:42:52.720]Yeah, and just briefly I love how um yamato
- [00:42:55.599]Waka the artist really kind of individualizes each of um, you know
- [00:43:00.319]uh genji's many ladies that we see here and I think this is a significant departure than you know,
- [00:43:06.000]Some of the earlier images that we were looking at where you know
- [00:43:09.520]the um female figures are kind of generic and doesn't really express their personality in the same way that these
- [00:43:16.400]more contemporary images do
- [00:43:18.619]Absolutely. Thank you for reminding me. Yeah, I was supposed to put this a little bit uh previously on images all that. Um,
- [00:43:26.240]You know and the human the phrases were just a draw in the one pretty much pretty much one single pattern when admitted
- [00:43:32.560]you know, um the couple of underlines and very simplistic lines and
- [00:43:37.280]and the facial expressions are just um
- [00:43:40.720]Not you know
- [00:43:42.140]personalized
- [00:43:43.200]so every both men and women, um and all kind of ages, you know, um,
- [00:43:48.000]We cannot really make a distinction on in the facial expression of the primordial and images of the genji's character
- [00:43:55.440]um, but here I think um, you know, one of the contributions this and the artist yamatowaki
- [00:44:01.839]Did was to give a more personal character?
- [00:44:05.200]uh in really
- [00:44:07.040]kind of individual, um persona to each um the characters
- [00:44:11.520]and the one art is
- [00:44:14.319]the um in the center image central image here is
- [00:44:18.560]actually, she
- [00:44:20.480]She was having a uh, sort of close and in intimate conversation with genji, but both of them never
- [00:44:27.280]um had any and um, you know,
- [00:44:30.240]serious, um intimate relations, but just the
- [00:44:33.760]Kind of contact was pretty platonic
- [00:44:36.400]So oftentimes this character is um kind of dismissed and forgotten by many. Um,
- [00:44:42.640]The artists and the critics but and this and yamato work is giving her really a great personality here in this image. I should say
- [00:44:53.839]And um
- [00:44:55.040]Yes here there's a combination of histario ganges and and also the cherry blossom is pretty significant because um the cherry blossom
- [00:45:02.960]is usually the symbol of
- [00:45:05.119]this um kind of buddhist
- [00:45:07.020]cosmology of
- [00:45:08.240]uh, you know, um, the transgenders the law of you know, um, a familiarity of everything things are in this tangible world, so,
- [00:45:16.640]He cannot
- [00:45:17.760]escape this law of you know universe so also
- [00:45:22.960]kind of handsome, uh
- [00:45:24.319]the figure and everybody all the women loves him and his presence has been so much appreciated and eventually he becomes
- [00:45:32.960]um semi um, semi um,
- [00:45:36.480]Emperor actually, so he attains and politically such a high
- [00:45:40.720]You know on the position and also pretty much he conquered every single most of everything. Um,
- [00:45:48.000]Women she wanted so but in the end she also cannot escape you know this
- [00:45:54.160]uh the law of
- [00:45:55.500]Transgenders he need to just across his life at certain point. So it is very, um kind of suggestive image. Um,
- [00:46:03.599]We can just address in here
- [00:46:08.800]This is just one quick and short of the manga the japanese and the comics in and
- [00:46:16.720]In the present time many mangas has been just produced by a computer graphics
- [00:46:21.520]But still in the late 20th century like the 1980s and 70s
- [00:46:26.240]um
- [00:46:26.960]every single manga artist was just creating all these images by everything by handwriting and using and the ink and
- [00:46:34.640]hands, so painstakingly
- [00:46:38.240]And I think we can still see, you know
- [00:46:39.760]A similar point of view that is that we saw in some of the pre-modern images being used here
- [00:46:44.480]So again there is this kind of long link. Um
- [00:46:47.520]Really kind of showing how um kind of these these visual vocabularies continue to be continue to be used today
- [00:46:58.079]And this is pretty much the last image from yamatoaki, um in this is pretty much a kind of um his
- [00:47:06.160]Artist on imaginary, you know the rendition of his other death
- [00:47:11.200]Uh, because the last chapter, um, I mean, you know the 41st chapter
- [00:47:15.760]Um of the pair of genji just shows a blank page
- [00:47:21.119]You know indicating that on the genji's death. So um now
- [00:47:26.079]in intriguingly he becomes kind of
- [00:47:29.119]uh
- [00:47:30.079]You know being placed in that, um almost like, you know overlooking universal position and just looking over on the people
- [00:47:38.480]Who are still?
- [00:47:39.839]under living in this world and all the beloved has
- [00:47:43.359]Are now just being overlooked by him
- [00:47:46.079]So seemingly and here also we can see some vocacy and the techniques um in this image
- [00:47:53.760]Yeah, and I find it so evocative that um genji's death is not spelled out. Um
- [00:47:58.800]because that the 44th chapter as you said is blank so it's really up to us to really imagine and kind of
- [00:48:05.520]Kind of fill in the blanks as to how we each think. Um, how ken genji died. So I think that's very very evocative
- [00:48:13.119]And then finally, this is delightful. I love it
- [00:48:17.200]This is uh, yes, this is actually um, this is the adaptation of manga
- [00:48:23.119]Uh into a theatrical, um production and this anatomical operator trope. Um,
- [00:48:30.240]All that and the actors are actually all women
- [00:48:33.839]and but the rendition of you know some images some scenes here are more like um
- [00:48:39.280]you know produced in the form of musica, um or operator if you will, um,
- [00:48:45.040]And but the use of the color is pretty um the graphic and pretty striking
- [00:48:50.400]And you know instead of um, more like a pre-modern kind of subtlety
- [00:48:54.400]Uh that many artists were just using in there the choice of you know, like under careful choice of colors
- [00:49:00.800]Um, I would say that
- [00:49:02.400]this um images
- [00:49:04.640]you know this, uh this, um, the interpretation of the menorah and the manga itself is more like in the line of uh,
- [00:49:11.920]The kabuki seattle one more like, you know the 18th century, um the uk tradition
- [00:49:18.319]I would say
- [00:49:21.680]Well, thank you for sharing all of these wonderful kind of contemporary manifestations of the tales of genji and I think we can
- [00:49:29.520]place helen's print um kind of in
- [00:49:32.880]In in in a similar tradition like helen made this print um, and it was completed in 1998
- [00:49:39.359]So it really is part of this kind of legacy of um
- [00:49:43.119]The tales of genji and it really does highlight on the cultural exchange that you know this american artist
- [00:49:49.839]had and how it was really inspired by this japanese textual source, and really
- [00:49:54.559]the production of it is is dependent on
- [00:49:57.520]It wouldn't have happened without the collaboration
- [00:50:00.559]with the japanese print makers
- [00:50:02.960]So based on this fascinating conversation that we've had. I am actually really thrilled that sheldon
- [00:50:09.040]Um had the opportunity to acquire the print and to have it on view through december
- [00:50:14.720]And it is at this moment that I would like to open this conversation up to um, our webinar attendees
- [00:50:21.440]so if you have any questions, um, please type them in the q a
- [00:50:25.339]box and um
- [00:50:27.599]Yeah, I welcome any questions and I think aaron if you could jump in and um share some of them, that would be great
- [00:50:37.359]Yes, um, thank you both karen and ikuho really really fascinating um, interesting, uh,
- [00:50:45.180]conversation we did have a question about the
- [00:50:48.960]edition of helen frankenthaler's print how many were printed and I
- [00:50:54.160]And I did make a note that it was an addition of 30
- [00:50:57.839]But I don't remember
- [00:50:59.760]Which edition which number we might have?
- [00:51:03.280]I think we have the eighth edition
- [00:51:10.640]Um another question do we know what interested frankenthaler in this topic in the tale of genji?
- [00:51:17.839]for these images
- [00:51:21.119]I could I speak to that a little bit
- [00:51:23.760]because i'm thinking that um
- [00:51:26.160]Helen, like many artists have been influenced by
- [00:51:30.559]um
- [00:51:31.819]Japanese art and art throughout all those centuries
- [00:51:36.000]When I studied, uh japanese art history
- [00:51:39.520]We saw those images of the tales of genji, which always made me wonder. What is the tales of genji? I read the novel
- [00:51:47.440]but to see
- [00:51:49.099]generations and
- [00:51:50.480]different eras
- [00:51:52.300]interpret it visually in
- [00:51:55.500]screens and scrolls and
- [00:51:58.000]album paintings
- [00:52:00.240]has inspired artists throughout
- [00:52:03.440]the world so
- [00:52:05.280]I think helen was part of that looking at those
- [00:52:09.200]images over time and being responding to
- [00:52:14.400]Some of the weathering of the paint that was what was so significant in some of those early examples the paint has flaked off its
- [00:52:22.220]stains its uh
- [00:52:24.559]Faint residues of of a cart floating in space. So aesthetically
- [00:52:29.599]She was like many of us being inspired by
- [00:52:33.440]those
- [00:52:35.099]characteristics of how the compositions are so I think that's
- [00:52:39.359]That's where the inspiration comes not necessarily telling a specific
- [00:52:44.720]facet of the chapter
- [00:52:46.720]but uh
- [00:52:48.480]the
- [00:52:49.599]Kind of the aesthetic beauty of those uh interpretations
- [00:52:53.760]And i'm always struck by kind of the the large planes of colors that we see in some of the earliest earliest scrolls
- [00:53:00.000]and looking at you know, these large planes of um,
- [00:53:04.319]Of of ink. I'm also wondering if that is what um also drew hell into these um narratives as well
- [00:53:13.599]Yeah, um, can I can I just also jump into this conversation
- [00:53:17.520]and I think always wondering and also being fascinated at the same time, uh, you know, um,
- [00:53:24.000]Frankenstein, she definitely kind of derive certain motives and uh, you know her own fascination. Um,
- [00:53:32.640]as a source, uh, you know
- [00:53:34.640]she used to tell kenzie for sure, but her title all these pieces of you know, the plural from the
- [00:53:45.119]So, um i'm wondering if any of you could just share, uh,
- [00:53:48.800]you know her kind of artistic intentions and kind of previews that she's
- [00:53:54.960]You know bringing into her collection
- [00:53:59.920]Yeah that, um that that's like shifted in the title has puzzled me and um
- [00:54:05.920]Yeah, I wish I wish I knew karen. Do you have any thoughts?
- [00:54:11.599]I'm not sure I understood the question, but
- [00:54:14.559]Or the distinction. Oh, so, um, the the japanese text is titled the tale of genji tale being singular
- [00:54:22.240]and yet helen frankenthaler titles her print series, um, the tales of genji turning tales into plural, so
- [00:54:30.140]Interesting. Yeah
- [00:54:32.400]If any of our attendees have any thoughts we welcome them as well good
- [00:54:37.339]distinction yeah
- [00:54:41.839]All right, well we want to be really mindful of time had one last question, um
- [00:54:48.559]Was the paper-making process developed specifically to absorb the wood grain onto the image
- [00:54:57.599]Oh well
- [00:55:00.640]The paper that they were making
- [00:55:02.960]appears to be quite
- [00:55:05.339]heavy
- [00:55:06.799]Made more in the western way of paper than the japanese
- [00:55:11.040]method which usually has
- [00:55:13.200]Thinner weight paper, so they made a western style
- [00:55:17.119]paper, but it
- [00:55:19.200]Had the wood grain either impressed for texture or I actually think they might have put ink on that textured wood block
- [00:55:27.040]And pressed that into the paper
- [00:55:29.920]so, um
- [00:55:31.599]I don't know if it was done in a oil based method or a relief method or actually I suspect an intallio method
- [00:55:39.760]wiping the wood block
- [00:55:43.280]To get the texture impressed in
- [00:55:47.339]Fascinating well, um
- [00:55:50.400]I think at this point you all have
- [00:55:53.599]Stuck with us for an hour. We really really appreciate you joining us this evening
- [00:56:00.160]Um, thank you. Karen. Thank you. Ikuho. Thank you. Melissa
- [00:56:04.640]um, this has been um a true joy, and as I mentioned before we will get this up on our website,
- [00:56:12.400]um
- [00:56:12.880]As soon as we are able and so that way you can go back and revisit share with your your friends or colleagues
- [00:56:20.319]Thank you again and stay safe
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