Editing Ukiyo-e (section)

===Descendant traditions (20th century)===

[[File:Yamamoto 1904.jpg|thumb|alt=Monochromatic print of a man in a heavy coat standing, looking away from the viewer at the ocean|''Fisherman''{{pb}}[[Kanae Yamamoto (artist)|Kanae Yamamoto]], 1904]]
The travel sketchbook became a popular genre beginning about 1905, as the Meiji government promoted travel within Japan to have citizens better know their country.{{sfn|King|2010|pp=119, 121}} In 1915, publisher [[Shōzaburō Watanabe]] introduced the term {{Transliteration|ja|[[shin-hanga]]}} ("new prints") to describe a style of prints he published that featured traditional Japanese subject matter and were aimed at foreign and upscale Japanese audiences.{{sfn|Seton|2010|p=81}} Prominent artists included [[Goyō Hashiguchi]], called the "Utamaro of the [[Taishō period]]" for his manner of depicting women; [[Shinsui Itō]], who brought more modern sensibilities to images of women;{{sfnm|1a1=Brown|1y=2006|1p=22|2a1=Seton|2y=2010|2p=81}} and [[Hasui Kawase]], who made modern landscapes.{{sfnm|1a1=Brown|1y=2006|1p=23|2a1=Seton|2y=2010|2p=81}} Watanabe also published works by non-Japanese artists, an early success of which was a set of Indian- and Japanese-themed prints in 1916 by the English [[Charles W. Bartlett]] (1860–1940). Other publishers followed Watanabe's success, and some {{transliteration|ja|shin-hanga}} artists such as Goyō and [[Hiroshi Yoshida]] set up studios to publish their own work.{{sfn|Brown|2006|p=21}}

Artists of the {{transliteration|ja|[[sōsaku-hanga]]}} ('creative prints') movement took control of every aspect of the printmaking process—design, carving, and printing were by the same pair of hands.{{sfn|Seton|2010|p=81}} [[Kanae Yamamoto (artist)|Kanae Yamamoto]] (1882–1946), then a student at the [[Tokyo University of the Arts|Tokyo School of Fine Arts]], is credited with the birth of this approach. In 1904, he produced ''Fisherman'' using woodblock printing, a technique until then frowned upon by the Japanese art establishment as old-fashioned and for its association with commercial mass production.{{sfn|Merritt|1990|p=109}} The foundation of the [[Japanese Woodcut Artists' Association]] in 1918 marks the beginning of this approach as a movement.{{sfn|Munsterberg|1957|p=181}} The movement favoured individuality in its artists, and as such has no dominant themes or styles.{{sfn|Statler|1959|p=39}} Works ranged from the entirely abstract ones of [[Kōshirō Onchi]] (1891–1955) to the traditional figurative depictions of Japanese scenes of [[Un'ichi Hiratsuka]] (1895–1997).{{sfn|Munsterberg|1957|p=181}} These artists produced prints not because they hoped to reach a mass audience, but as a creative end in itself, and did not restrict their print media to the woodblock of traditional ukiyo-e.{{sfn|Statler|1959|pp=35–38}}

<!-- let's avoid using "kindai hanga" -- the term isn't set in stone the way "shin-hanga" and "sōsaku-hanga" are -->Prints from the late-20th and 21st centuries have evolved from the concerns of earlier movements, especially the {{transliteration|ja|sōsaku-hanga}} movement's emphasis on individual expression. [[Screen printing]], [[etching]], [[mezzotint]], [[mixed media]], and other Western methods have joined traditional woodcutting amongst printmakers' techniques.{{sfn|Fiorillo|1999}}
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<gallery caption="Descendants of ukiyo-e" mode="packed" heights="210px">
'Taj Mahal' by Charles W. Bartlett, 1916, woodblock print.JPG|''Taj Mahal'', [[Charles W. Bartlett]], 1916
Hashiguchi Goyo - Woman in Blue Combing Her Hair - Walters 95880.jpg|''Combing the Hair''{{pb}}[[Goyō Hashiguchi]], 1920
Kawase Zôjôji.jpg|{{transliteration|ja|Shiba Zōjōji}}, [[Hasui Kawase]], 1925
Hiroshi Yoshida, Hikaru umi, 1926.jpg|''Glittering Sea'', by [[Hiroshi Yoshida]], 1926
'Lyric No. 23' by Onchi Koshiro, Honolulu Museum of Art.JPG|''Lyric No. 23''{{pb}}[[Kōshirō Onchi]], 1952
</gallery>