Masao Ido, Field of Rapeseed Blossoms, 1980, Woodblock Print

Details

Description

Masao Ido (1945–2016)

“Rape Blossoms” (油菜の花, Nanohana / Rape Blossoms)

Signed and numbered by the artist, lower margin

Hand-printed woodblock … Read more Masao Ido (1945–2016)

“Rape Blossoms” (油菜の花, Nanohana / Rape Blossoms)

Signed and numbered by the artist, lower margin

Hand-printed woodblock print on fine Japanese washi paper

Image size: H 26 × W 35 cm (≈ 10.2 × 13.8 in)

“Rape Blossoms” presents a luminous vista in which fields of yellow blossoms (rape, nanohana) stretch toward the horizon, their vivid glow set against the soft greens of cultivated land and the tranquil architecture of a rural Japanese dwelling. The composition is framed by gently rolling hills and a sky suffused with morning light. Butterflies drift through the scene, infusing it with an ephemeral life. The interplay of color, light, and delicate detail evokes a quiet reverie — the hush of early spring in Japan, captured through Ido’s masterful hand.

Collectors will appreciate the rarity of a signed and numbered impression from Ido’s mature period, with its subtle layering of color and precise registration. This piece would make a superb addition to any collection of contemporary Japanese prints or moku hanga (木版画). Its modest dimensions belie the depth of atmosphere and meditation embedded within.

Colors may slightly vary due to photographic lighting sources or your monitor settings.

Wear consistent with age and use.

Biography & Artistic Journey

Masao Ido was born in 1945 in Beipiao (in northeastern China), during wartime, and in 1946 his family returned to Kyoto. After apprenticing in textile dyeing and fabric work (notably under Yoshida Kôhô in Kyoto), he developed a strong foundation in color, layering, and material sensitivity.

In the late 1960s to early 1970s, Ido turned to the art of woodblock printing (moku hanga), inspired by the works of modern printmakers such as Kiyoshi Saitō. Under the technical guidance of carvers and printers (including Shigechika Ohtsubo), he refined a style that bridges traditional Japanese print technique with modern sensibility.

Ido’s work often evokes classical themes — gardens, old Kyoto streets, temple compounds — but with his own distinctive color palette (notably “Ido Green”) and a contemplative, meditative restraint. In the period 2008–2010, he completed a major series, One Hundred Views of Kyoto (京都百景, Kyoto Hyakkei), which reflects his deep personal connection to the city.

His work is held in major public collections such as the Los Angeles County Museum of Art, Boston Museum of Fine Arts, Kyoto and Tokyo National Museums, and others.

Technique & Significance of Japanese Woodblock Printing (Moku Hanga)

Traditional Japanese woodblock printing was introduced from China centuries ago and evolved into uniquely Japanese forms (e.g. ukiyo-e).

In moku hanga, each color is typically carved from a separate woodblock; registering them precisely and printing in multiple passes is a delicate, labor-intensive craft.

Ido made frequent use of dozens of color blocks in his compositions, layering subtle gradations and achieving light and shadow with great subtlety.

He also developed a special signature green hue (sometimes called “Ido Green”) to express seasonal tones and depth.

Unlike machines or mass reproduction, a woodblock print by a master such as Ido is a collaboration of art, craft, and material — each impression is “handmade,” and fine registration, ink control, paper, and pressure all play a role in the final aesthetic.

Japanese woodblock print, sosaku hanga, Katsujiro Terashi, Kurashiki canal, Japanese architecture, Edo-period town, mid-century Japanese art, modern Japanese printmaking, Artist Proof, collectible Japanese print. This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
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