Masao Ido, Myōman-Ji Temple Garden, 1990, Limited Edition Woodblock Print, Framed

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Masao ido (1945–2016) — myōman-ji temple garden, 1990 — rare artist’s proof (ap), signed limited edition woodblock print.

few subjects … Read more Masao ido (1945–2016) — myōman-ji temple garden, 1990 — rare artist’s proof (ap), signed limited edition woodblock print.

few subjects suited masao ido’s meditative hand better than the raked gravel gardens of kyoto’s ancient temples, and this horizontal landscape of myōman-ji’s celebrated yuki-no-niwa (snow garden) is a masterclass in stillness. The foreground is occupied by concentric raked gravel ripples — so finely rendered one can almost feel the resistance of the rake — while rounded clipped azalea shrubs and dark granite boulders emerge from the sand like islands in a calm sea. A tall stone lantern stands sentinel at centre, its weathered form half-veiled by the fresh green canopy of summer trees. A stepping stone path curves in from the lower left, drawing the eye gently into the composition and evoking the invitation of a real garden walk. The rendering of light filtering through the tree canopy onto the raked sand below is extraordinary — a warmth of dappled shadow that lifts the whole scene from documentation into poetry.

myōman-ji temple, established in 1389, is the head temple of the kenpon hokke school of nichiren buddhism, situated in the iwakura district of kyoto. The temple is renowned for its yuki-no-niwa (snow garden), considered one of kyoto’s three famous setsugetsuka gardens. Ido, who lived and worked in kyoto for most of his life, was intimately acquainted with these sacred spaces, and his garden prints carry the authority of someone who had walked these paths in every season.

ido developed a distinctive style characterized by delicate use of colour and a focus on traditional japanese settings such as temples, gardens, and natural vistas. His works evoke a sense of quiet beauty and timelessness, reflecting his deep reverence for japan’s natural and cultural heritage. He employed techniques such as bokashi — gradation of colour — to create atmospheric effects, lending his works a dreamlike quality.

this impression carries the designation ap (artist’s proof) — impressions set aside by the artist outside the numbered edition, traditionally reserved for the artist’s own use or gifted to close associates. They are considerably rarer than standard numbered impressions and are among the most desirable examples a collector can acquire. The print is signed, dated ’91 (1991 printing), titled in japanese, and marked ap by the artist in pencil, with his personal red seal (hanko) visible within the image.

ido’s works are held in major collections including the museum of modern art in new york, the boston museum of fine arts, the kyoto and tokyo national museums, and the florence municipal museum. He won the sanki-kai award, the grand prize for the nichidoh woodblock printings, and was accepted into the japan woodblock printing association exhibition.

the print is presented in its original japanese frame — a dark lacquered wood frame with a cream mount — as it left the artist’s studio milieu. This untouched, original presentation adds significant provenance appeal and is increasingly rare to find intact.

condition: excellent. Vibrant colour; no fading, minor foxing,check image, no restoration. Original frame in very good order.

framing

original japanese dark lacquered wood frame with cream window mount
frame dimensions: h. 44.5 × w. 57 × d. 3 cm (h. 17½ × w. 22½ × d. 1¼ in.)
ready to hang
print details

medium: multi-colour woodblock print (moku hanga) on washi
edition: artist’s proof (ap) — outside the standard numbered edition
date: 1990 (dated ’91 in pencil — printed 1991)
signature: signed, titled, dated and marked ap in pencil by the artist; red seal within image
country of origin: japan
about the artist

masao ido grew up in kyoto, where he apprenticed to a textile dyer and by age twenty was designing and dyeing his own obi and kimono fabric. After encountering the work of kiyoshi saito, he began to study woodblock printmaking, eventually opening his own workshop and gallery in kyoto in 1982 to promote the art of traditional japanese woodblocks. He studied under yoshida koho (fabric dyeing) and otsubo shigechika (woodblock prints) and by 1984 had become a teacher himself, passing the tradition to the next generation. His enduring success is rooted in a compelling blend of traditional printmaking techniques and distinctly japanese themes — serene gardens, iconic landscapes, evocative scenes from bunraku theatre, and the nostalgic beauty of old japanese villages rendered with remarkable clarity and emotional depth. He passed away in kyoto in april 2016.

a note on artist’s proofs

in printmaking convention, artist’s proofs (ap) are pulled alongside — but separate from — the main numbered edition. Typically no more than 10% of the edition size, they were traditionally kept by the artist and are today among the scarcest and most coveted impressions in any print market.

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

wear consistent with age and use. 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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