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@haikubot.piaille.fr.ap.brid.gyOct 15, 2026, 10:00 AM

Un implant d’or luit
Le brouillard boit les enseignes
Un enfant mendie

#Haiku #Cyberpunk #Shin_hanga #新版画 #AIArt

Illustration du Haïku
@mdstamper.bsky.socialOct 12, 2026, 2:24 PM

“ダンサー（レヴュー）” (Dancer [Revue]) by Kobayakawa Kiyoshi 小早川清 (Japanese) – Color woodblock print / 1932 – Chiba City Museum of Art (Chiba, Japan) #WomenInArt #KobayakawaKiyoshi #小早川清 #ChibaCityMuseumofArt #千葉市美術 #art #artText #arte #ShinHanga #ArtDeco #JapaneseArt #1930sArt #新版画 #JapaneseArtist #DanceArt

Japanese artist Kobayakawa Kiyoshi (小早川清) created “Dancer (Revue)” in 1932, during the early Shōwa period, when Tokyo’s nightlife and entertainment culture were being transformed by modern theaters, cafés, cinemas, jazz, and Western-influenced fashion. Kobayakawa was born in Hakata, Fukuoka, in 1899 and worked in both painting and printmaking, becoming particularly known for images of women. This print belongs to the world of shin-hanga (新版画), or “new prints,” a movement that renewed traditional Japanese woodblock printing while embracing modern subjects and contemporary visual styles. A woman bends backward in an extraordinary arc, her body sweeping diagonally across a nearly black field. One arm stretches upward, the other reaches outward, while her face disappears beneath the curve of her body and the small patterned cap on her head. Her pale dress seems to move with her as loose fabric drops from the waist and flares between her legs, scattered with circles and spots of red, blue, gray, and orange. Dark red shoes punctuate the bottom of the composition. Against the dark background, her exposed arms and legs appear almost luminous, turning the dancer’s body into a bold, rhythmic shape. The dancer is not posed as a conventional bijinga (美人画), or “picture of a beautiful woman.” Instead, Kobayakawa emphasizes motion, physical confidence, and the spectacle of performance. Her face is almost irrelevant. It is the body in motion that commands our attention while the black backdrop isolates her like a flash of movement caught under a spotlight with an unmistakably Art Deco vibe. Kobayakawa’s revue dancer was from the “new Tokyo” that emerged after reconstruction from the 1923 Great Kantō Earthquake and an example of how Japanese shin-hanga artists incorporated contemporary society, entertainment, customs, and everyday life into the woodblock tradition. The result is a modern woman occupying the stage with athleticism, fashion, and uninhibited movement.
@webbian.bsky.socialSep 20, 2026, 8:29 AM

#スティーブジョブズが購入したという 、#鳥居言人 の《 #朝寝髪 》には、謎がある。

この #新版画 は発禁になっているのですが、実はその理由がよくわかっていないのだ。

ところが最近、美術史家の岩切信一郎氏が「黄楊の櫛は占いの道具であり、男女の性的な関係を暗示するモチーフとして受け取られた可能性がある」との新説を出した。

「没後50年記念　鳥居言人　歌舞伎絵と新版画」（9/1-9/27、#太田記念美術館 ）
ldq03330.wixsite.com/geijutsu/pos...

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