{"id":23680,"date":"2023-11-08T16:30:48","date_gmt":"2023-11-08T16:30:48","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=23680"},"modified":"2023-11-08T15:42:12","modified_gmt":"2023-11-08T15:42:12","slug":"the-art-of-kato-teruhide-1936-2015","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2023\/11\/08\/the-art-of-kato-teruhide-1936-2015\/","title":{"rendered":"The art of Kato Teruhide, 1936\u20132015"},"content":{"rendered":"

\"teruhide17.jpg\"<\/p>\n

Feeling of Autumn.<\/em><\/p>\n

I’m still a little obsessed with ukiyo-e<\/em> prints old and new, and with good reason when you find examples like these. Kato Teruhide was one of a number of 20th-century printmakers who subjected the traditional form to modern refinements, which in this case means vertical views of architectural structures or spaces, some of whose close-ups and unusual angles show how photography has helped expand the visual possibilties of the medium. Ishibi Koji Street<\/em> is a winter scene that presents a view directly above the street, something I’ve never seen before in this medium. Other scenes constrain their narrow viewpoints even further by the framing of walls or, in the case of the print of Fushimi Inari, the path through the thousand torii<\/em> gates that lead visitors to the famous shrine. Teruhide pushed his medium close to abstraction without ever being as stylised as some of his contemporaries. Kyoto Romance<\/em><\/a>, a book of his prints, was published in 1992.<\/p>\n

\"teruhide02.jpg\"<\/p>\n

Ishibe Koji Street.<\/em><\/p>\n

\"teruhide08.jpg\"<\/p>\n

Bright Moonlight at Ryoan-ji Temple.<\/em><\/p>\n

\"teruhide04.jpg\"<\/p>\n

Nisonin Temple.<\/em><\/p>\n

\"teruhide16.jpg\"<\/p>\n

Harvest Moon.<\/em><\/p>\n

<\/p>\n

\"teruhide06.jpg\"<\/p>\n

Blue Moon.<\/em><\/p>\n

\"teruhide07.jpg\"<\/p>\n

Crossing Umbrellas.<\/em><\/p>\n

\"teruhide03.jpg\"<\/p>\n

Purple Breeze in Arashiyama.<\/em><\/p>\n

\"teruhide09.jpg\"<\/p>\n

Autumn Moon at Zen Garden of Ryoan-ji Temple.<\/em><\/p>\n

\"teruhide10.jpg\"<\/p>\n

Beautiful Autumn in Kyoto.<\/em><\/p>\n

\"teruhide11.jpg\"<\/p>\n

Latticework of Floral Designs.<\/em><\/p>\n

\"teruhide12.jpg\"<\/p>\n

Kiyomizudera Temple in Autumn.<\/em><\/p>\n

\"teruhide13.jpg\"<\/p>\n

Yasaka-Pagoda under the Moon.<\/em><\/p>\n

\"teruhide14.jpg\"<\/p>\n

Kogetsudai.<\/em><\/p>\n

\"teruhide15.jpg\"<\/p>\n

A Thousand Torii at the Fushimi Inari Shrine.<\/em><\/p>\n

\"teruhide01.jpg\"<\/p>\n

Autumn in Sagano.<\/em><\/p>\n

\"teruhide05.jpg\"<\/p>\n

Snowy Alley.<\/em><\/p>\n

\"teruhide18.jpg\"<\/p>\n

Red Umbrella in Alley.<\/em><\/p>\n

\"teruhide19.jpg\"<\/p>\n

Spire of Gion Festival Float.<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 Fifteen ghosts and a demon<\/a>
\n\u2022 Hiroshi Yoshida\u2019s India<\/a>
\n\u2022 The art of Hasui Kawase, 1883\u20131957<\/a>
\n\u2022 The art of Paul Binnie<\/a>
\n\u2022 Nineteen views of Zen gardens<\/a>
\n\u2022 Ten views of the Itsukushima Shrine<\/a>
\n\u2022 Charles Bartlett\u2019s prints<\/a>
\n\u2022 Sixteen views of Meoto Iwa<\/a>
\n\u2022 Waves and clouds<\/a>
\n\u2022 Yoshitoshi\u2019s ghosts<\/a>
\n\u2022 Japanese moons<\/a>
\n\u2022 The Hell Courtesan<\/a>
\n\u2022 Nocturnes<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Feeling of Autumn. I’m still a little obsessed with ukiyo-e prints old and new, and with good reason when you find examples like these. Kato Teruhide was one of a number of 20th-century printmakers who subjected the traditional form to modern refinements, which in this case means vertical views of architectural structures or spaces, some … Continue reading “The art of Kato Teruhide, 1936\u20132015”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2,31],"tags":[13160],"class_list":["post-23680","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-religion","tag-kato-teruhide"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-69W","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23680","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=23680"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23680\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=23680"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=23680"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=23680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}