वुडब्लॉक हिंदी उपयोग और उदाहरण

देश के एक राष्ट्रीय प्रतीक के रूप में, फुजिसन को विभिन्न कला और मीडिया में चित्रित किया गया है जैसे कि पेंटिंग, वुडब्लॉक प्रिंट (जैसे कि थर्टी-सिक्स व्यू ऑफ माउंट फूजी ), कविता, संगीत, थिएटर, फिल्म, मंगा, एनीमे और पॉटरी ।

प्रारंभिक चित्र ज्यादातर बहु-रंग मुद्रित वुडब्लॉक प्रिंट थे, और यह 18 वीं शताब्दी के मध्य तक नहीं था कि मल्टी-कलर ओवरप्रिंट विकसित किया गया था ।

उकियाओ ए, सचमुच 'फ्लोटिंग वर्ल्ड की तस्वीरें', वुडब्लॉक प्रिंट की एक शैली है जो पूर्व- मीजी जापानी कला की विशेषताओं का उदाहरण देती है।

अधिकांश शुंगा एक प्रकार के उकियो-ए हैं, जिन्हें आमतौर पर वुडब्लॉक प्रिंट प्रारूप में निष्पादित किया जाता है।

"" अधिकांश शुंगा एक प्रकार के उकियो-ए हैं, जिन्हें आमतौर पर वुडब्लॉक प्रिंट प्रारूप में निष्पादित किया जाता है।

वुडब्लॉक इसके अंग्रेजी अर्थ का उदाहरण

The majority of books were hand-copied until the Edo period (1603–1867), when woodblock printing became comparatively affordable and widespread.

Movable-type printing had been used from the late 16th century, but for various aesthetic and practical reasons woodblock printing and hand-copied remained dominant until much later.

There were many types of printings: woodblock printing was the most popular publishing style, hand-copied printing were less popular and recognized as private publishing together with movable-type printing.

The latter were used to print academic and Buddhist printing and one which was banned in woodblock printing.

These dharani were printed using the basic woodblock printing technique called seihanbon (整版本) that Buddhist monks brought over from mainland China.

Printing technology made very little progress during these periods, but the seihanbon woodblock-printing method did become comparatively affordable and widespread.

Books continued to be printed using seihanbon woodblock techniques, and printed matter continued to be limited to sutras and religious texts for the aid and edification of monks at large temples.

The dominant method of book reproduction in this time changed from manuscript copying to seihanbon woodblock printing, as this technique had been refined to the point that individual commercial institutions could afford to open their own presses.

Professional female entertainers (geisha), music, popular stories, Kabuki and bunraku (puppet theater), poetry, a rich literature, and art, exemplified by beautiful woodblock prints (known as ukiyo-e), were all part of this flowering of culture.

He sought out the curator of Japanese art at the Museum, Ernest Fenollosa, who shared his view that art should be both pictorial and decorative and introduced him to the other masters of Sumi ink painting and woodblock techniques.

The fashion for Japonisme from the 1870s gave a particular spur to the movement towards colour, as brightly coloured Japanese ukiyo-e woodblock prints began to be seen and admired in Europe.

The Japanese printmakers used multiple woodblocks, one for each colour, and there was something of a revival in woodcut, which hardly any serious artists had worked in since the 16th century.

April 14 – Utagawa Kuniyoshi, Japanese artist of the ukiyo-e style of woodblock prints and painting (born 1797).