In today's world, Kojima Gyokuhō has acquired significant relevance in different areas, generating an impact that goes beyond what was expected. Since its emergence, Kojima Gyokuhō has captured the attention of experts and the general public, generating debates, research and diverse opinions that have marked its importance and scope in contemporary society. In this article, we will delve into the essence of Kojima Gyokuhō, exploring its implications, its evolution over time, and its influence in different spheres, demonstrating the impact that this unique figure/theme/date has on our current reality.
Kojima Gyokuhō (児嶋 玉鳳, 1907–1934) was a Japanese artist. Little is known about him, except that he worked with the Kyoto City publisher Happōdō. He rejected the Western concept that art was an expression of the artist's individuality. Rather, he embraced the traditional method of producing woodblock prints through the cooperation of a designer (artist), a woodblock carver, a printer, and a publisher. He also favored traditional Japanese subjects, such as Japanese textiles, kabuki, and ukiyo-e masterpieces.
Prints
Kojima is best known for his series One Hundred Poetry Illustrations. It consists of 50 woodblock prints. Each print is about a traditional Japanese poem. The series were published by Kondo Happodo in Kyoto in 1932. For the prints he used metallic pigments, gofun, and embossing.
Gallery
One Hundred Poetry Illustrations: A Collection of Multicolor Woodblock Prints by Kojima Gyokuhō, c.1934