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Matches in DBpedia 2014 for { ?s ?p "Sōsaku-hanga (創作版画, lit. "creative prints") was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods. It advocated the principles of "self-drawn" (自画, jiga), "self-carved" (自刻, jikoku) and "self-printed" (自刷, jizuri) art, stressing the artist, motivated by a desire for self-expression, as the sole creator. As opposed to the shin-hanga ("new prints") movement that maintained the traditional ukiyo-e collaborative system (the hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, creative print artists distinguished themselves as artists creating art for art’s sake.The birth of the sōsaku-hanga movement (創作版画運動, sōsaku-hanga-undō) was signaled by Kanae Yamamoto’s (1882–1946) small print called “Fisherman” in 1904. Departing from the ukiyo-e collaborative system, Kanae Yamamoto made the print solely on his own, all the way from drawing, carving and printing. Such principles of “self-drawn”, self-carved” and “self-printed” became the foundation of the creative print movement, which struggled for existence in prewar Japan along with other art movements, and gained its momentum and flourished in postwar Japan as the genuine heir of the ukiyo-e tradition.The 1951 São Paulo Art Biennial witnessed the success of the creative print movement. Both of the Japanese winners, Yamamoto and Kiyoshi Saitō (1907–1997) were printmakers, who outperformed Japanese paintings (nihonga), Western-style paintings (yōga), sculptures and avant-garde. Other sōsaku-hanga artists such as Kōshirō Onchi (1891–1955), Unichi Hiratsuka (1895–1997), Sadao Watanabe (1913–1996) and Maki Haku (1924–2000) are also well known in the West."@en }

• Sōsaku-hanga abstract "Sōsaku-hanga (創作版画, lit. "creative prints") was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods. It advocated the principles of "self-drawn" (自画, jiga), "self-carved" (自刻, jikoku) and "self-printed" (自刷, jizuri) art, stressing the artist, motivated by a desire for self-expression, as the sole creator. As opposed to the shin-hanga ("new prints") movement that maintained the traditional ukiyo-e collaborative system (the hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, creative print artists distinguished themselves as artists creating art for art’s sake.The birth of the sōsaku-hanga movement (創作版画運動, sōsaku-hanga-undō) was signaled by Kanae Yamamoto’s (1882–1946) small print called “Fisherman” in 1904. Departing from the ukiyo-e collaborative system, Kanae Yamamoto made the print solely on his own, all the way from drawing, carving and printing. Such principles of “self-drawn”, self-carved” and “self-printed” became the foundation of the creative print movement, which struggled for existence in prewar Japan along with other art movements, and gained its momentum and flourished in postwar Japan as the genuine heir of the ukiyo-e tradition.The 1951 São Paulo Art Biennial witnessed the success of the creative print movement. Both of the Japanese winners, Yamamoto and Kiyoshi Saitō (1907–1997) were printmakers, who outperformed Japanese paintings (nihonga), Western-style paintings (yōga), sculptures and avant-garde. Other sōsaku-hanga artists such as Kōshirō Onchi (1891–1955), Unichi Hiratsuka (1895–1997), Sadao Watanabe (1913–1996) and Maki Haku (1924–2000) are also well known in the West.".