What you need to know:
Tokyo Dub Dealer Co., Ltd. has announced the global release of ukiyo-e woodblock prints featuring Ghost in the Shell 2: Innocence (2004), the sequel to the hit Japanese anime film Ghost in the Shell (1995). This product will be released by AKIHABARA PREMIUM COLLECTION, an EC platform famous for combining Akihabara's otaku culture and Japanese passion for craft. Prints will be available to purchase from 12:00 (JST) on March 23, 2024. This ukiyo-e release will also feature an Artist Collaboration Special Framed Edition, limited to 30 copies above Around the world. The grid art frame for this work was designed by sculptor Tomoichi Fujita.
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First Ukiyo-E woodblock print for Ghost in the Shell 2: Innocence on its 20th anniversary
Ghost in the Shell 2: Innocence takes place in the year 2032, when humanity has undergone cyberization, allowing digital communication over networks without speaking or typing on computer terminals. At the same time, the trend of modifying the human body leads to the coexistence of humans, robots and robots.
Following the 1995 classic Ghost in the Shell and the latest Ghost in the Shell: SAC_2045, Ghost in the Shell Shell 2: Innocence receives its own ukiyo-e woodblock print for the first time.
About the creation of Ukiyo-E woodblock prints
Ukiyo-e stands for a representation of traditional craftsmanship in Japan. However, the entire industry is on the brink of crisis, with the number of artisans continuing to pass down this traditional technique from the Edo period dwindling to just a few dozen across the country.
Despite training efforts for the younger generation, the reality is that daily production and demand for the necessary raw materials are decreasing, leading to a decrease in the total number of artisans.
Collaborating with the artisans (painters, engravers and printers) who continue to pass down these traditional woodblock printing techniques, our goal is to introduce the beauty of ukiyo-e to everyone around the world from a fresh perspective by combining traditional craftsmanship with Ghost in the Shell 2: Innocence. In doing so, we hope to contribute to the preservation and development of this precious Japanese craft.
We aim to bring you the essence of traditional Japanese craftsmanship.
Main characteristics of this profession Job
Why did we choose the gynoid for the ukiyo-e design instead of the main character Batou or the most iconic character, Motoko Kusanagi?
Ghost in the Shell 2: Innocence revolves around a character investigating a murder caused by a malfunction of the Hadaly 2052 gynoids, human-like female robots designed for fun. Through this investigation, the film explores the philosophical aspects of the relationship between “human” and “doll”, as well as the connection between “soul” and “body”. The gynoid cut, which appears in a scene involving a memorable conversation with forensic investigator Haraway, is truly iconic of the film. So we chose it as the subject for the ukiyo-e woodblock print.
We invite you to appreciate the universal philosophical nature at the film's core through meticulously executed ukiyo-e woodblock prints handcrafted by artisans down to the smallest detail.
Why do we choose floating frames?
This work is framed using the relief method, which involves creating space on all sides of the work, creating the impression that it is suspended within the frame. In the previously mentioned scene, many gynecologists are sealed and suspended in preservative fluid for autopsy. The embossed framing method is not only reminiscent of such scenes but is also considered the most effective way to emphasize the emptiness and lack of soul inside the dolls.
Explain the grid
I wanted to create purely frame art because Ghost in the Shell and Ghost in the Shell 2: Innocence are two of my favorite movies. Although I have created many different framed pieces in the past, I wanted to do something different with this one. A recurring theme in my work is temples and I wanted to incorporate those shapes into this frame. When I was considering what kind of temples to visit, I remembered the festival scene in the movie where a float moves through the city. The pagoda on the boat has a distinctly Chinese feel with its elaborate roof and I wanted to use that as one of the motifs. The roof decorations are somewhat colorful so I thought it would be fun to create contrast with acrylic colors.
Another pattern I wanted to show off in the frame is the Asian lattice pattern. In the film, this pattern is scattered across the background, placed symbolically in various key scenes, and it is done in a way that seems to blend perfectly with European Gothic architecture. I don't know if the story takes place in Hong Kong or somewhere else, but the chaotic elements in the background are fascinating and I tried to reflect that in the frame.
Engraver: Kayoko SUGA
After graduating from high school, she applied to become an apprentice artisan in the Arakawa Artisan Training Project in Arakawa Ward, Tokyo. After seven years of apprenticeship as an engraver for Edo woodblock prints, she became independent. Currently, she contributes to the inheritance of ukiyo-e woodblock print culture with special skills as one of the few female artisans certified by the Ministry of Economy, Trade and Industry.
Conducted demonstration at Oedo Happyaku Yacho Exhibition at Edo-Tokyo Museum in 2003
Conducted a demonstration at the Meisho Edo Hyakkei Kansei Commemorative Exhibition at Nihonbashi Mitsukoshi in 2005
Performed at the Hokusai Manga Exhibition at the Edo-Tokyo Museum in 2008
Member of the Society for the Preservation of Technical Skills in Engraving and Printing of Ukiyo-e Woodblock Prints
Member of the Tokyo Traditional Woodblock Printing Association
Printer: Takuya Okada
Born in 1983 in Ibaraki Prefecture
After graduating from high school, he studied Buddha sculpture at Kyoto Super College of Traditional Arts, and after graduation, he studied printmaking at Watanabe Mokuhan. In 2012, he branched out to work independently.
With a career spanning about 8 years, he possesses high printing skills.
Watanabe Mokuhan is a prominent publisher of new prints, typified by artist Hasui Kawase. During his time there, Okada mastered various techniques commonly used in new prints, such as blending and blurring. For this work, he proposed the gold and platinum spraying and mounting technique. In addition to traditional techniques, he is also a new generation printmaker actively involved in exploring advanced printing methods.
He is an artisan certified by the Department of Cultural Affairs as skilled in preserving selected intangible cultural assets.
Member of the Tokyo Traditional Woodblock Printing Association
Calligrapher: Ryoko Fujiura
Sculptor: Tomoichi Fujita
Born in 1976 in Chiba Prefecture
Graduated from Hida International School of Crafts & Design, Department of Woodworking
Prize
Selected for the 24th Taro Okamoto Award for Contemporary Art
Exhibition
2015: Group exhibition “TENGAI 2.0” curated by Tenmyouya Hisashi (Roppongi Hills A/D Gallery, Tokyo)
2016: Solo exhibition “Stories born from wood-Collaborative exhibition between contemporary artist Tomoichi Fujita and prefectural art collectors” (Chiba Prefectural Museum of Art)
2017: Solo exhibition “Different Qualities” (Chiba Bank Himawari Gallery, Tokyo) and group exhibition “110th Anniversary of Mitsukoshi Art-HOPES-Next Generation Selection Exhibition” ( Nihonbashi Mitsukoshi)
2018: Solo exhibition “Man of the castle” (Gallery Maruhi, Tokyo)
2019: Solo exhibition “Unreal Honor” (Mumon Gallery, Tokyo) and group exhibition “New Year's Eve Exhibition-Next Generation Artists” (Roppongi Hills A/D Gallery, Tokyo )
2020: Solo exhibition “Fuso Country” (X Art Gallery, Nihonbashi Takashimaya)
2021: Group exhibition “24th Taro Okamoto Award for Contemporary Art Exhibition” (Kawasaki City Okamoto Taro Museum)
2023: Solo exhibition “NEO TOKYO” (Art Gallery X, Nihonbashi Takashimaya) (Gallery Next, Osaka Takashimaya)
Information
I was born and raised in Japan.
Before turning my attention abroad, I felt a desire to deepen my understanding of my country. I have visited temples and traditional Japanese architecture in various regions of Japan.
As I travel to many places again, I find myself pondering questions. How have temples evolved throughout history, adapting to changing times? How did architectural styles respond to the influence of science and other civilizations? How did people join and practice faith in religions such as Buddhism and Shinto? And how did rulers use religion as a symbol of power to win the hearts of their people?
To answer these questions, I intertwine traditional architecture and historical events, re-enacting and expressing them through the use of contemporary materials and materials. craft techniques in my artwork.
Product information
Innocence Ukiyo-e woodblock print
“Ghost in the Shell 2: Muku” Standard Frame Edition
Price: 65,000 yen + tax and shipping
Quantity: Limited to 300 copies worldwide
Includes frame box and ukiyo-e woodblock print certificate
Dimensions: Image (W: approx. 243 mm × H: approx. 363 mm)/Frame (W: approx. 432 mm × H: approx. 547 mm × D: approx. 40 mm)
Frame: Wood, back frame made of plywood
Mat: Paper
Washi: Echizen Kizuki Hosho of Living National Treasure Ichibei Iwano
Engraver: Kayoko SUGA
Printed by: Takuya Okada
The artwork is delivered in an original ukiyo-e patterned frame box.
It comes with a certificate confirming that it was produced using the traditional Ukiyo-e woodblock printing technique.
Innocence Ukiyo-e Woodblock Print
“Ghost in the Shell 2: Muku” Special frame edition
Price: 450,000 yen + tax and shipping fee
Quantity: Limited to 30 copies worldwide
Includes frame box and ukiyo-e woodblock print certificate
Dimensions: Image (W: approx. 243 mm × H: approx. 363 mm)/Frame (W: approx. 463 mm × H: approx. 560 mm × D: approx. 60 mm)
Sales website: AKIHABARA PREMIUM COLLECTION
URL: akihabara-premium.com
Source: Official press release