Eizan | Yamashiro Province, Courtesan Hashitate of the Ogi-ya House
菊川英山 Kikukawa Eizan（1787-1867）
青楼六玉川内 扇屋内 梯立
Yamashiro Province, Courtesan Hashitate of the Ogi-ya House, from the series of Six Views of theTama River and Beauties in Pleasure Quarters
1818
木版画 | 纵绘大判 | 37cm x 26cm
Woodblock-print | Oban tate-e | 37cm x 26cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition
六玉川，歌枕名，原意为在和歌中经常被提及的六条同名不同地的玉川。江户时代，随着市民文化的兴盛，六玉川也成一众浮世绘画家创作的对象，并逐渐演变为浮世绘的一个母题。本作画题中的“山城”，即代指以山吹花（棣棠）盛景著称的，流经京都府山城地域的井手之玉川。
若你能有机会回到两百年前的吉原游廓，走进位于江户町一丁目的扇屋碰碰运气，搞不好就能一睹花魁梯立的绝世艳色。此时的她将换下的那身流水山吹花纹打褂轻挂于莳绘衣桁之上，转而披上了一袭云龙海浪纹华服。水墨底色中，龙爪翻飞，鬃须升腾，与胭脂水地腰带上的数条游弋金龙相映成趣。在神龙们的映衬下，梯立姑娘本就娴雅的面庞显得更为雍容，头上的玳瑁发饰也愈发粲然。不同于前代浮世绘画师追求的头身比颇为夸张的修长身材，英山在本作中明显是以现实中的梯立为原型，绘制了一位七头身的俏丽美人；同时，他又将五官比例适当放大，凸显了花魁的精致面容，真正做到了写实与浪漫的完美平衡，匠心独妙，不由得使观者为之倾倒。
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菊川英山 Kikukawa Eizan（1787-1867）
青楼六玉川内 扇屋内 梯立
Yamashiro Province, Courtesan Hashitate of the Ogi-ya House, from the series of Six Views of theTama River and Beauties in Pleasure Quarters
1818
木版画 | 纵绘大判 | 37cm x 26cm
Woodblock-print | Oban tate-e | 37cm x 26cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition
六玉川，歌枕名，原意为在和歌中经常被提及的六条同名不同地的玉川。江户时代，随着市民文化的兴盛，六玉川也成一众浮世绘画家创作的对象，并逐渐演变为浮世绘的一个母题。本作画题中的“山城”，即代指以山吹花（棣棠）盛景著称的，流经京都府山城地域的井手之玉川。
若你能有机会回到两百年前的吉原游廓，走进位于江户町一丁目的扇屋碰碰运气，搞不好就能一睹花魁梯立的绝世艳色。此时的她将换下的那身流水山吹花纹打褂轻挂于莳绘衣桁之上，转而披上了一袭云龙海浪纹华服。水墨底色中，龙爪翻飞，鬃须升腾，与胭脂水地腰带上的数条游弋金龙相映成趣。在神龙们的映衬下，梯立姑娘本就娴雅的面庞显得更为雍容，头上的玳瑁发饰也愈发粲然。不同于前代浮世绘画师追求的头身比颇为夸张的修长身材，英山在本作中明显是以现实中的梯立为原型，绘制了一位七头身的俏丽美人；同时，他又将五官比例适当放大，凸显了花魁的精致面容，真正做到了写实与浪漫的完美平衡，匠心独妙，不由得使观者为之倾倒。
Interested in purchasing?
Please contact us.
菊川英山 Kikukawa Eizan（1787-1867）
青楼六玉川内 扇屋内 梯立
Yamashiro Province, Courtesan Hashitate of the Ogi-ya House, from the series of Six Views of theTama River and Beauties in Pleasure Quarters
1818
木版画 | 纵绘大判 | 37cm x 26cm
Woodblock-print | Oban tate-e | 37cm x 26cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition
六玉川，歌枕名，原意为在和歌中经常被提及的六条同名不同地的玉川。江户时代，随着市民文化的兴盛，六玉川也成一众浮世绘画家创作的对象，并逐渐演变为浮世绘的一个母题。本作画题中的“山城”，即代指以山吹花（棣棠）盛景著称的，流经京都府山城地域的井手之玉川。
若你能有机会回到两百年前的吉原游廓，走进位于江户町一丁目的扇屋碰碰运气，搞不好就能一睹花魁梯立的绝世艳色。此时的她将换下的那身流水山吹花纹打褂轻挂于莳绘衣桁之上，转而披上了一袭云龙海浪纹华服。水墨底色中，龙爪翻飞，鬃须升腾，与胭脂水地腰带上的数条游弋金龙相映成趣。在神龙们的映衬下，梯立姑娘本就娴雅的面庞显得更为雍容，头上的玳瑁发饰也愈发粲然。不同于前代浮世绘画师追求的头身比颇为夸张的修长身材，英山在本作中明显是以现实中的梯立为原型，绘制了一位七头身的俏丽美人；同时，他又将五官比例适当放大，凸显了花魁的精致面容，真正做到了写实与浪漫的完美平衡，匠心独妙，不由得使观者为之倾倒。
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.