Chikanobu | The Scene of Making Silk
楊洲周延 Toyohara Chikanobu (1838–1912)
国華娘蚕之栞
The Scene of Making Silk
1899
木版画 | 三联续绘-纵绘大判 | 37.3cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 37.3cm x 25cm x 3
品相非常好
Very good condition
SOLD
蚕桑丝织，起源于中国长江三角洲的伟大生产活动，迄今已有五千年历史。至晚在公元三世纪的弥生时代，养蚕技法就传至日本，但直到江户时代才真正形成了规模化养殖；明治维新后，伴随着工业技术的飞速发展，以及政府相关政策的推动，养蚕缫丝业的地位得到了空前提升，生丝成为获取外汇的重要资源，蝉联了全明治期近五十年的第一出口品桂冠。当菖蒲（花鸢尾）摇曳起紫色的花冠，夏蚕们便开始织起厚厚的丝茧。画面最右方的蚕架上，一颗颗饱满的丝茧洁白硕大，架旁的蚕箔与折藁蔟上，一条条银蚕正预备营茧。画面中部的高架上，那只颈系红绳铃铛的花猫抬起腮部一脸满足，享受着美丽姑娘的爱抚。可爱乖巧的模样，吸引了一旁手持羽帚与蚕盘的两位姑娘，以及抱着茧笼坐在檐下的少女的目光。画面最左侧，一位年纪稍长的女子笑脸盈盈，正手持丝籰，从小锅内抽取银丝。滚滚白烟从土灶内升起，直至消散在半空。无数条蚕儿用短暂的生命，换来了人世间的繁华似锦。
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楊洲周延 Toyohara Chikanobu (1838–1912)
国華娘蚕之栞
The Scene of Making Silk
1899
木版画 | 三联续绘-纵绘大判 | 37.3cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 37.3cm x 25cm x 3
品相非常好
Very good condition
SOLD
蚕桑丝织，起源于中国长江三角洲的伟大生产活动，迄今已有五千年历史。至晚在公元三世纪的弥生时代，养蚕技法就传至日本，但直到江户时代才真正形成了规模化养殖；明治维新后，伴随着工业技术的飞速发展，以及政府相关政策的推动，养蚕缫丝业的地位得到了空前提升，生丝成为获取外汇的重要资源，蝉联了全明治期近五十年的第一出口品桂冠。当菖蒲（花鸢尾）摇曳起紫色的花冠，夏蚕们便开始织起厚厚的丝茧。画面最右方的蚕架上，一颗颗饱满的丝茧洁白硕大，架旁的蚕箔与折藁蔟上，一条条银蚕正预备营茧。画面中部的高架上，那只颈系红绳铃铛的花猫抬起腮部一脸满足，享受着美丽姑娘的爱抚。可爱乖巧的模样，吸引了一旁手持羽帚与蚕盘的两位姑娘，以及抱着茧笼坐在檐下的少女的目光。画面最左侧，一位年纪稍长的女子笑脸盈盈，正手持丝籰，从小锅内抽取银丝。滚滚白烟从土灶内升起，直至消散在半空。无数条蚕儿用短暂的生命，换来了人世间的繁华似锦。
Interested in purchasing?
Please contact us.
楊洲周延 Toyohara Chikanobu (1838–1912)
国華娘蚕之栞
The Scene of Making Silk
1899
木版画 | 三联续绘-纵绘大判 | 37.3cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 37.3cm x 25cm x 3
品相非常好
Very good condition
SOLD
蚕桑丝织，起源于中国长江三角洲的伟大生产活动，迄今已有五千年历史。至晚在公元三世纪的弥生时代，养蚕技法就传至日本，但直到江户时代才真正形成了规模化养殖；明治维新后，伴随着工业技术的飞速发展，以及政府相关政策的推动，养蚕缫丝业的地位得到了空前提升，生丝成为获取外汇的重要资源，蝉联了全明治期近五十年的第一出口品桂冠。当菖蒲（花鸢尾）摇曳起紫色的花冠，夏蚕们便开始织起厚厚的丝茧。画面最右方的蚕架上，一颗颗饱满的丝茧洁白硕大，架旁的蚕箔与折藁蔟上，一条条银蚕正预备营茧。画面中部的高架上，那只颈系红绳铃铛的花猫抬起腮部一脸满足，享受着美丽姑娘的爱抚。可爱乖巧的模样，吸引了一旁手持羽帚与蚕盘的两位姑娘，以及抱着茧笼坐在檐下的少女的目光。画面最左侧，一位年纪稍长的女子笑脸盈盈，正手持丝籰，从小锅内抽取银丝。滚滚白烟从土灶内升起，直至消散在半空。无数条蚕儿用短暂的生命，换来了人世间的繁华似锦。
Interested in purchasing?
Please contact us.
Toyohara Chikanobu (1838–1912)
Toyohara Chikanobu was born in 1838 in Edo and, obviously possessing talent, studied the Kanō school of painting. But his love was Ukiyoe. He studied with Kuniyoshi and, upon the master’s death, with Kunichika.
A samurai like his father, Chikanobu fought on the side of the Shogan against the Emperor Meiji as Japan moved unsteadily towards modernity, and was arrested when the Emperor’s forces triumphed. But by the 1880s he was free to pursue his art.
His work ranged from Japanese mythology to battles to women's fashions. A great many were triptychs, and some were quite garish in their choice of colors, as was the style in the waning days of Ukiyoe. His designs illustrating women’s fashion were especially interesting because they depicted the radical shift from traditional to Western clothing during the Meiji restoration and the changes in coiffures and make-up styles that accompanied them. When he drew women in traditional dress, it was a nod to the recent past, with a healthy dose of nostalgia. He died in 1912.