Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Zhang Shun, the White Streak in the Waves - Utagawa Kuniyoshi
Precio habitual
£28.00 GBP
Precio de oferta
£28.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A dynamic woodblock print by Utagawa Kuniyoshi depicting the legendary warrior Zhang Shun in a scene from the Water Margin.
This woodblock print by Utagawa Kuniyoshi depicts the legendary warrior Zhang Shun, a character from the Chinese classic novel, Water Margin (Suikoden). Kuniyoshi gained fame for his series of prints featuring these heroes, which revitalised the genre of musha-e, or warrior prints, in the nineteenth century. The composition captures a moment of high tension as Zhang Shun navigates turbulent waters, his body covered in elaborate tattoos that signify his status and strength. He holds a blade in his mouth, his posture suggesting movement and agility amidst the chaotic environment of arrows and submerged structures.
Kuniyoshi employs a dynamic use of line to define the muscular form of the figure and the swirling patterns of the water. The print demonstrates the technical precision of the Edo-period woodblock process, where multiple carved blocks were used to layer colour and detail. The figure is positioned centrally, drawing the eye to the contrast between his pale skin and the dark, rhythmic lines of the surrounding water. The inclusion of text blocks, typical of the format, provides context for the narrative scene. This work reflects the interest in heroic tales and folklore that permeated Japanese visual culture during this period. The artist balances the ferocity of the subject with a controlled, decorative approach to the background elements, such as the architectural fragments and the arrows piercing the water. This print is a representative example of Kuniyoshi's ability to combine narrative drama with the graphic conventions of the ukiyo-e tradition, offering a view into the aesthetic priorities of the time.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
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Zhang Shun, the White Streak in the Waves - Utagawa Kuniyoshi
Precio habitual
Desde £28.00 GBP
Precio de oferta
Desde £28.00 GBP
Precio habitual
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Utagawa Kuniyoshi
Kuniyoshi's father was a silk dyer in Edo. The boy helped with pattern design, which gave him an instinct for colour and textile decoration that shows in every print he made. At twelve he caught the attention of Utagawa Toyokuni, the head of the Utagawa school, and was admitted as a student. He was given the name Kuniyoshi in 1814 and became independent.
For the first thirteen years he struggled. The breakthrough came in 1827 with a commission to illustrate the 108 Heroes of the Suikoden, a Chinese adventure novel. He drew tattooed warriors in dynamic poses that broke out of the frame, the tattoos rendered with a detail that started a fashion in Edo. The series was enormously popular and established him as the leading designer of warrior prints.
He loved cats. His studio was always full of them, and he often worked with a kitten tucked inside his kimono. When a cat died, he sent it to a nearby temple, and he kept a Buddhist altar for his deceased cats at home. Cats appear constantly in his prints: as substitute actors in kabuki scenes, as letter-forms in playful alphabets, as parodies of famous paintings. Government censorship in the 1840s prohibited the depiction of actors and courtesans by name, so Kuniyoshi gave them cat faces, which was technically legal and funnier.
His range was unusual for an ukiyo-e artist. Warriors, landscapes, beautiful women, ghosts, satirical cartoons, cats. He was equally comfortable with the heroic and the absurd, sometimes on the same sheet. His triptych of the giant skeleton spectre, from the tale of Takiyasha the Witch, is one of the most reproduced images in Japanese art.
For the first thirteen years he struggled. The breakthrough came in 1827 with a commission to illustrate the 108 Heroes of the Suikoden, a Chinese adventure novel. He drew tattooed warriors in dynamic poses that broke out of the frame, the tattoos rendered with a detail that started a fashion in Edo. The series was enormously popular and established him as the leading designer of warrior prints.
He loved cats. His studio was always full of them, and he often worked with a kitten tucked inside his kimono. When a cat died, he sent it to a nearby temple, and he kept a Buddhist altar for his deceased cats at home. Cats appear constantly in his prints: as substitute actors in kabuki scenes, as letter-forms in playful alphabets, as parodies of famous paintings. Government censorship in the 1840s prohibited the depiction of actors and courtesans by name, so Kuniyoshi gave them cat faces, which was technically legal and funnier.
His range was unusual for an ukiyo-e artist. Warriors, landscapes, beautiful women, ghosts, satirical cartoons, cats. He was equally comfortable with the heroic and the absurd, sometimes on the same sheet. His triptych of the giant skeleton spectre, from the tale of Takiyasha the Witch, is one of the most reproduced images in Japanese art.
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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