{"id":4961,"date":"2025-08-13T10:55:58","date_gmt":"2025-08-13T08:55:58","guid":{"rendered":"https:\/\/www.adahome.it\/uncategorized-it\/shinhanga-la-nuova-era-delle-stampe-giapponesi\/"},"modified":"2025-08-13T11:07:00","modified_gmt":"2025-08-13T09:07:00","slug":"shinhanga-the-new-era-of-japanese-prints","status":"publish","type":"post","link":"https:\/\/www.adahome.it\/en\/blog-en\/shinhanga-the-new-era-of-japanese-prints\/","title":{"rendered":"Shinhanga. The New Era of Japanese Prints"},"content":{"rendered":"

A bridge between tradition and innovation, at the Museums of San Salvatore in Lauro through 7 September 2025<\/h2>\n

\"\"
\nMaiko in Kyoto, Hashiguchi Goy\u014d (1880-1921)<\/em><\/p>\n

Some works don\u2019t need to shout to capture your attention \u2014 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<\/b><\/i>, on display for the first time in Rome<\/b> at the Museums of San Salvatore in Lauro<\/b>, until 7 September 2025<\/b>.<\/p>\n

Produced by Vertigo Syndrome<\/b> and curated by Paola Scrolavezza<\/b>, with contributions from Fusako Yoshinaga<\/b>, the exhibition takes visitors on a journey into an artistic movement<\/b> that emerged in the early 20th century, blending the weight of tradition<\/b> with the spark of innovation<\/b> \u2014 tempered by a quiet touch of nostalgia.<\/p>\n

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

Born during the Taish\u014d and Sh\u014dwa periods, between 1912<\/b> and 1945<\/b>, Shin-hanga<\/b> \u2014 literally \u201cnew woodblock prints<\/b>\u201d \u2014 was a bold response to the crisis of ukiyo-e<\/b>. It revitalized traditional expressive codes through a collaborative process involving artists, engravers, printers, and publishers working together, as exemplified by the renowned Watanabe Sh\u014dzabur\u014d<\/b> studio. All this unfolded in a climate open to the<\/b> West<\/b>, shaped above all by the influence of late 19th-century European Impressionism<\/b>.<\/p>\n

Then, history made its mark. In 1923<\/b>, the devastating Great Kant\u014d Earthquake<\/b> struck Tokyo, destroying not only the city but also most of the original woodblock matrices<\/b>. It was more than a physical loss \u2014 it marked an aesthetic fracture<\/b>. 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 \u2014 and even inhabited \u2014 the world began to shift.<\/p>\n

This was a moment of artistic reinvention<\/b>. Not a rupture with the past, but a variation on its themes<\/b> \u2014 a new visual language<\/b> 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 It\u014d Shinsui<\/b>, Kawase Hasui<\/b>, Yoshida Hiroshi<\/b>, Hashiguchi Goy\u014d<\/b> and Tsuchiya Koitsu<\/b> reinterpreted the past without ever betraying it.<\/p>\n

The artistic gaze<\/b> turned inward. The new woodblock prints<\/b> depicted a Japan that was more intimate<\/b> and contemplative<\/b>. Many carried an almost photographic sensibility: their subjects were no longer the celebrated meish\u014d<\/i> (\u201cfamous places\u201d) of earlier eras, but quiet corners<\/b> and overlooked vistas<\/b> \u2014 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.<\/p>\n

But perhaps the true protagonists of this transformation were the bijinga<\/b><\/i> \u2014 portraits of women<\/b>. 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<\/b>. They are shown applying make-up, combing their hair, or simply drifting into thought. Moments suspended, as if time itself had agreed to pause.<\/p>\n

Shinhanga<\/i> also broke ground with its use of perspective<\/b>, artificial light <\/b>and the subtle choreography of the seasons<\/b> \u2014 elements that lent these works a striking realism<\/b>, at times almost cinematic<\/b>, bringing them remarkably close to the gaze of the modern viewer<\/b>.<\/p>\n

Within this renewed visual language<\/b>, a few names shine with particular brilliance. Kawase Hasui <\/b>\u2014 perhaps the most renowned \u2014 devoted his art to lakes and seascapes far removed from the tourist trail. Tsuchiya Koitsu<\/b> mastered the play of light, creating nocturnal scenes of haunting intensity. Okada Koichi<\/b>\u2019s meticulous woodblock prints, often dedicated to the majesty of Mount Fuji, and the sensitive lines of Eiichi Kotozuka<\/b> \u2014 whose works draw on Japan\u2019s cultural traditions, as well as its flora and wildlife \u2014 complete a panorama steeped in introspection, restraint and quiet grace.<\/p>\n

Completing the exhibition are kimonos<\/b><\/i>, vintage photographs<\/b>, and decorative objects<\/b> that enhance the feeling of continuity between art and everyday life. Through muted palettes, narrative pauses, and disrupted symmetries, the Shinhanga artists<\/b> present an introspective vision of reality<\/b>: a delicate blend of excitement<\/b> for the new and a wistful melancholy<\/b> for what \u2014 almost unnoticed \u2014 has already passed us by.<\/p>\n

Visiting this exhibition means immersing yourself in an art form<\/b> that is both delicate<\/b> and powerful<\/b>. An aesthetic that speaks the language of impermanence<\/b> and, unexpectedly, enters into dialogue with our own time<\/b>. A visual caress<\/b> that invites reflection<\/b> on what is destined to disappear \u2014 and, for that very reason, deserves to be remembered.<\/p>\n

After the exhibition, a home away from home<\/h3>\n

Ada Home, your refined retreat in the heart of Parioli<\/i><\/span><\/p>\n

When the exhibition ends, the journey continues in a place that celebrates a different kind of art: the<\/b> art of genuine hospitality<\/b>. In the elegant Parioli district<\/b>, just steps from the aristocratic Villa Borghese, Ada Home \u2013 Luxury Guest House Rome<\/b><\/i> is an address where elegance lives in every detail.<\/p>\n

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

At Ada Home<\/b><\/i>, comfort<\/b> takes many forms: tranquil rooms, ultra-fast Wi-Fi and an international breakfast, crafted to start your day with ease and style. The location<\/b> is an added gift \u2014 tucked away yet central \u2014 offering a privileged way to experience Rome, where tranquillity meets refinement and every return feels like a moment of renewal.<\/p>\n

Choosing Ada Home \u2013 Luxury Guest House<\/b><\/i> means embracing a sophisticated lifestyle without ostentation. A peaceful haven<\/b> in the heart of Rome<\/b>, it offers a refuge for those seeking not just a place to stay, but a new way to experience the city.<\/p>\n

Shinhanga in Rome: tips from<\/h3>\n

Everything you need to know about the exhibition and how to reach the Museums of San Salvatore in Lauro<\/i><\/span><\/p>\n

The exhibition is held at the Museums of San Salvatore in Lauro<\/b>, just a short stroll from Castel Sant\u2019Angelo<\/b>. The address is Piazza di San Salvatore in Lauro, 15<\/b>, conveniently accessible by car or public transport.<\/p>\n

For guests staying at Ada Home \u2013 Luxury Guest House<\/b><\/i>, the easiest way to get there by public transport is to take Bus Line 53<\/b> (towards Mancini<\/i>) from the Liegi\/Bellini<\/i> stop to Tritone\/Barberini<\/i>. Then, transfer to Bus Line 492 <\/b>(towards Metro Cipro<\/i>) and get off at the Senato<\/i> stop. The final 400 metres make for a pleasant walk through the historic city centre.<\/p>\n

Alternatively, a taxi<\/b> or private car<\/b> takes about 20 minutes<\/b>.<\/p>\n

Opening hours:<\/b><\/p>\n

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  • \n

    Tuesday to Friday: 11:00 am \u2013 7:30 pm<\/p>\n<\/li>\n

  • \n

    Saturday, Sunday and public holidays: 10:30 am \u2013 8:30 pm<\/p>\n<\/li>\n<\/ul>\n

    From 11 to 24 August 2025<\/b>, the hours will be slightly reduced:<\/p>\n

      \n
    • \n

      Tuesday to Friday: 11:00 am \u2013 7:00 pm<\/p>\n<\/li>\n

    • \n

      Saturday, Sunday and public holidays: 10:30 am \u2013 7:00 pm<\/p>\n<\/li>\n<\/ul>\n

      Special opening<\/b> on 15 August<\/b>. Last admission is 30 minutes before closing. For updates or changes, please check the official website or online ticket office.<\/p>\n

      Tickets<\/b> are available online and at the ticket office.<\/p>\n

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      • \n

        Full: \u20ac14.50<\/p>\n<\/li>\n

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        Reduced: \u20ac13.00 (under 18, over 65, companions of people with disabilities over 75%)<\/p>\n<\/li>\n

      • \n

        Children: \u20ac5.00 (ages 7 to 12)<\/p>\n<\/li>\n

      • \n

        Open ticket: \u20ac16.50<\/p>\n<\/li>\n<\/ul>\n

        Guided tours<\/b> are available upon reservation.<\/p>\n

        Contact<\/b>: info@doristea.com | +39 389 0051 453.<\/p>\n

        Adults<\/b>: \u20ac25 (ticket included) groups of at least 10 people.<\/p>\n

        Children<\/b>: \u20ac13 (ticket included) groups of at least 15 people.<\/p>\n","protected":false},"excerpt":{"rendered":"

        A bridge between tradition and innovation, at the Museums of San Salvatore in Lauro through 7 September 2025 Maiko in Kyoto, Hashiguchi Goy\u014d (1880-1921) Some works don\u2019t need to shout to capture your attention \u2014 they draw you in softly, […]<\/p>\n","protected":false},"author":1,"featured_media":4953,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[115,129,127],"tags":[],"class_list":["post-4961","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-en","category-eventi-en","category-mostre-en"],"yoast_head":"\nShinhanga. 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