Shinhanga. The New Era of Japanese Prints

A bridge between tradition and innovation, at the Museums of San Salvatore in Lauro through 7 September 2025

Maiko in Kyoto, Hashiguchi Goyō (1880-1921)

Some works don’t need to shout to capture your attention — they draw you in softly, whispering that beauty often lies in the smallest details. This is precisely the sensation evoked by Shinhanga. The Revolution in Japanese Prints, on display for the first time in Rome at the Museums of San Salvatore in Lauro, until 7 September 2025.

Produced by Vertigo Syndrome and curated by Paola Scrolavezza, with contributions from Fusako Yoshinaga, the exhibition takes visitors on a journey into an artistic movement that emerged in the early 20th century, blending the weight of tradition with the spark of innovation — tempered by a quiet touch of nostalgia.

This is a finely crafted glimpse into early modern Japan, featuring more than 120 original works from private collections and the Japanese Gallery Kensington in London. Radiant landscapes, delicate portraits and period artefacts intertwine in a visual narrative that reinvents the traditional language of woodblock printing while preserving its exquisite attention to detail.

Born during the Taishō and Shōwa periods, between 1912 and 1945, Shin-hanga — literally “new woodblock prints” — was a bold response to the crisis of ukiyo-e. It revitalized traditional expressive codes through a collaborative process involving artists, engravers, printers, and publishers working together, as exemplified by the renowned Watanabe Shōzaburō studio. All this unfolded in a climate open to the West, shaped above all by the influence of late 19th-century European Impressionism.

Then, history made its mark. In 1923, the devastating Great Kantō Earthquake struck Tokyo, destroying not only the city but also most of the original woodblock matrices. It was more than a physical loss — it marked an aesthetic fracture. From that moment, the imagery of Shinhanga grew quieter, more introspective, imbued with a delicate sense of distance. As if art itself were processing the trauma, the way Japan represented — and even inhabited — the world began to shift.

This was a moment of artistic reinvention. Not a rupture with the past, but a variation on its themes — a new visual language for a nation in flux, caught between the weight of tradition and the pull of modernity. With crisp lines, luminous colour palettes and an entirely fresh sensitivity to light and the changing seasons, masters such as Itō Shinsui, Kawase Hasui, Yoshida Hiroshi, Hashiguchi Goyō and Tsuchiya Koitsu reinterpreted the past without ever betraying it.

The artistic gaze turned inward. The new woodblock prints depicted a Japan that was more intimate and contemplative. Many carried an almost photographic sensibility: their subjects were no longer the celebrated meishō (“famous places”) of earlier eras, but quiet corners and overlooked vistas — moonlit ruins, dusk skies lit by paper lanterns, rural lanes, hushed suburbs touched by the glow of streetlamps, or the gentle light spilling through the shoji screens of a home.

But perhaps the true protagonists of this transformation were the bijinga — portraits of women. No longer the stylised beauties of old, nor the celebrated geisha or kabuki actresses of popular imagination, but real women, captured in the quiet poetry of daily life. They are shown applying make-up, combing their hair, or simply drifting into thought. Moments suspended, as if time itself had agreed to pause.

Shinhanga also broke ground with its use of perspective, artificial light and the subtle choreography of the seasons — elements that lent these works a striking realism, at times almost cinematic, bringing them remarkably close to the gaze of the modern viewer.

Within this renewed visual language, a few names shine with particular brilliance. Kawase Hasui — perhaps the most renowned — devoted his art to lakes and seascapes far removed from the tourist trail. Tsuchiya Koitsu mastered the play of light, creating nocturnal scenes of haunting intensity. Okada Koichi’s meticulous woodblock prints, often dedicated to the majesty of Mount Fuji, and the sensitive lines of Eiichi Kotozuka — whose works draw on Japan’s cultural traditions, as well as its flora and wildlife — complete a panorama steeped in introspection, restraint and quiet grace.

Completing the exhibition are kimonos, vintage photographs, and decorative objects that enhance the feeling of continuity between art and everyday life. Through muted palettes, narrative pauses, and disrupted symmetries, the Shinhanga artists present an introspective vision of reality: a delicate blend of excitement for the new and a wistful melancholy for what — almost unnoticed — has already passed us by.

Visiting this exhibition means immersing yourself in an art form that is both delicate and powerful. An aesthetic that speaks the language of impermanence and, unexpectedly, enters into dialogue with our own time. A visual caress that invites reflection on what is destined to disappear — and, for that very reason, deserves to be remembered.

After the exhibition, a home away from home

Ada Home, your refined retreat in the heart of Parioli

When the exhibition ends, the journey continues in a place that celebrates a different kind of art: the art of genuine hospitality. In the elegant Parioli district, just steps from the aristocratic Villa Borghese, Ada Home – Luxury Guest House Rome is an address where elegance lives in every detail.

Here, hospitality is infused with a sense of harmony. Each space is designed as a personal experience: designer furnishings, fine materials, original artworks, and a subtle balance between Italian heritage and contemporary style.

At Ada Home, comfort takes many forms: tranquil rooms, ultra-fast Wi-Fi and an international breakfast, crafted to start your day with ease and style. The location is an added gift — tucked away yet central — offering a privileged way to experience Rome, where tranquillity meets refinement and every return feels like a moment of renewal.

Choosing Ada Home – Luxury Guest House means embracing a sophisticated lifestyle without ostentation. A peaceful haven in the heart of Rome, it offers a refuge for those seeking not just a place to stay, but a new way to experience the city.

Shinhanga in Rome: tips from

Everything you need to know about the exhibition and how to reach the Museums of San Salvatore in Lauro

The exhibition is held at the Museums of San Salvatore in Lauro, just a short stroll from Castel Sant’Angelo. The address is Piazza di San Salvatore in Lauro, 15, conveniently accessible by car or public transport.

For guests staying at Ada Home – Luxury Guest House, the easiest way to get there by public transport is to take Bus Line 53 (towards Mancini) from the Liegi/Bellini stop to Tritone/Barberini. Then, transfer to Bus Line 492 (towards Metro Cipro) and get off at the Senato stop. The final 400 metres make for a pleasant walk through the historic city centre.

Alternatively, a taxi or private car takes about 20 minutes.

Opening hours:

• Tuesday to Friday: 11:00 am – 7:30 pm

• Saturday, Sunday and public holidays: 10:30 am – 8:30 pm

From 11 to 24 August 2025, the hours will be slightly reduced:

• Tuesday to Friday: 11:00 am – 7:00 pm

• Saturday, Sunday and public holidays: 10:30 am – 7:00 pm

Special opening on 15 August. Last admission is 30 minutes before closing. For updates or changes, please check the official website or online ticket office.

Tickets are available online and at the ticket office.

• Full: €14.50

• Reduced: €13.00 (under 18, over 65, companions of people with disabilities over 75%)

• Children: €5.00 (ages 7 to 12)

• Open ticket: €16.50

Guided tours are available upon reservation.

Contact: info@doristea.com | +39 389 0051 453.

Adults: €25 (ticket included) groups of at least 10 people.

Children: €13 (ticket included) groups of at least 15 people.