Eizan | Kakitsubata
菊川英山 Kikukawa Eizan（1787-1867）
杜若
Kakitsubata
1807-09
木版画 | 三联续绘-纵绘大判 | 36cm x 24.8cm x 3
Woodblock-print | Triptych-Oban tate-e | 36cm x 24.8cm x 3
早期版次；颜色保存非常好；非常轻微的褪色和修剪
Fine impression;very good colour; slight fading and trimmed
SOLD
燕子花，鸢尾科鸢尾属植物，多丛生于湿地。每年五、六月，硕大的紫色花朵便会盛开于剑状的青绿色叶片之间，将河岸湖畔装点得无比绚烂。
正值初夏，不知位于何处的庭园湿地中开满了燕子花。这难得的美景，吸引了一众美人前来：稍文静些的姑娘们或坐或立于浮桥边，笑吟吟地看着那些早已脱了木屐、提起裙裾，一边踏水一边折摘着花枝，好不快活的同伴们，言笑之声，仿佛就回响在耳边。有趣的是，在本件三联画中，英山特意将每一幅都安排了三位美人，在平衡全画布局，的同时，也充分考虑到了单幅画面的完整性，尽可能保留了单组人物更为独立的互动，如构思精妙的组曲般充满着韵律感。美人身后传统的日式园林、曲折蜿蜒的浮桥、以及绽放的燕子花，又都会使人不禁联想起江户时代著名画家、工艺美术家尾形光琳创作的《八桥图屏风》。也许，这正是英山对光琳的致敬。
本作虽历经二百余年风霜，色彩保存尚佳。即使是易褪色的胭脂、明黄、苍绿等色彩亦鲜活明晰，只在悠悠岁月中，增添了一抹火气褪却的温柔。
Interested in purchasing?
Please contact us.
菊川英山 Kikukawa Eizan（1787-1867）
杜若
Kakitsubata
1807-09
木版画 | 三联续绘-纵绘大判 | 36cm x 24.8cm x 3
Woodblock-print | Triptych-Oban tate-e | 36cm x 24.8cm x 3
早期版次；颜色保存非常好；非常轻微的褪色和修剪
Fine impression;very good colour; slight fading and trimmed
SOLD
燕子花，鸢尾科鸢尾属植物，多丛生于湿地。每年五、六月，硕大的紫色花朵便会盛开于剑状的青绿色叶片之间，将河岸湖畔装点得无比绚烂。
正值初夏，不知位于何处的庭园湿地中开满了燕子花。这难得的美景，吸引了一众美人前来：稍文静些的姑娘们或坐或立于浮桥边，笑吟吟地看着那些早已脱了木屐、提起裙裾，一边踏水一边折摘着花枝，好不快活的同伴们，言笑之声，仿佛就回响在耳边。有趣的是，在本件三联画中，英山特意将每一幅都安排了三位美人，在平衡全画布局，的同时，也充分考虑到了单幅画面的完整性，尽可能保留了单组人物更为独立的互动，如构思精妙的组曲般充满着韵律感。美人身后传统的日式园林、曲折蜿蜒的浮桥、以及绽放的燕子花，又都会使人不禁联想起江户时代著名画家、工艺美术家尾形光琳创作的《八桥图屏风》。也许，这正是英山对光琳的致敬。
本作虽历经二百余年风霜，色彩保存尚佳。即使是易褪色的胭脂、明黄、苍绿等色彩亦鲜活明晰，只在悠悠岁月中，增添了一抹火气褪却的温柔。
Interested in purchasing?
Please contact us.
菊川英山 Kikukawa Eizan（1787-1867）
杜若
Kakitsubata
1807-09
木版画 | 三联续绘-纵绘大判 | 36cm x 24.8cm x 3
Woodblock-print | Triptych-Oban tate-e | 36cm x 24.8cm x 3
早期版次；颜色保存非常好；非常轻微的褪色和修剪
Fine impression;very good colour; slight fading and trimmed
SOLD
燕子花，鸢尾科鸢尾属植物，多丛生于湿地。每年五、六月，硕大的紫色花朵便会盛开于剑状的青绿色叶片之间，将河岸湖畔装点得无比绚烂。
正值初夏，不知位于何处的庭园湿地中开满了燕子花。这难得的美景，吸引了一众美人前来：稍文静些的姑娘们或坐或立于浮桥边，笑吟吟地看着那些早已脱了木屐、提起裙裾，一边踏水一边折摘着花枝，好不快活的同伴们，言笑之声，仿佛就回响在耳边。有趣的是，在本件三联画中，英山特意将每一幅都安排了三位美人，在平衡全画布局，的同时，也充分考虑到了单幅画面的完整性，尽可能保留了单组人物更为独立的互动，如构思精妙的组曲般充满着韵律感。美人身后传统的日式园林、曲折蜿蜒的浮桥、以及绽放的燕子花，又都会使人不禁联想起江户时代著名画家、工艺美术家尾形光琳创作的《八桥图屏风》。也许，这正是英山对光琳的致敬。
本作虽历经二百余年风霜，色彩保存尚佳。即使是易褪色的胭脂、明黄、苍绿等色彩亦鲜活明晰，只在悠悠岁月中，增添了一抹火气褪却的温柔。
Interested in purchasing?
Please contact us.
Kikukawa Eizan (1787-1867)
Kikugawa Eizan can be considered the true heir to Utamaro, even if he never studied with that legendary master of beauties.
But history records he was deeply enamored of Utamaro’s work, and when Utamaro died, it was Eizan, and not one of Utamaro’s students, who truly filled the void. His bijin-ga prints paid hommage to the master’s style, especially their poses, but their narrow faces and slim bodies were perfected by Eizan. The kimonos in which he dressed his women were often quite intricate, as were their hairstyles, with both providing fascinating and useful glimpses of the styles in the ever-stylish Edo of the time.
Eizan was born to a painter, and in the end of his life it was apparently painting that warmed his passion most. He abruptly stopped designing prints around 1830, when he was 43, but kept painting for the rest of his life. He died at 81 in 1867.