Harunobu | Courtesan Burning a Love Letter

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鈴木春信 Suzuki Harunobu (1724–1770)

见立返魂香
Courtesan Burning a Love Letter

1765-70

木版画 | 纵绘中判 | 27.5 x 20.9cm
Woodblock-print | Chuban tate -e | 27.5 x 20.9cm

非常轻微褪色;背面有先前装裱的残留物
Very slight faded; very slight centrefold; residue of the mounting paper on the back

PRICE ON REQUEST

秋草屏风掩映锦衾,年轻的姑娘正在火盆旁焚烧着卷卷书信。忽地浓烟伴着火舌升起,半空中,浮现出一位手持烟管青年的身影。眼见此景的姑娘赶紧提上衣袖,满眼深情地望向她心心念念的、可望而不可即的爱侣。

可令人起死回生的返魂香,最初见于东方朔所著的《海内十洲记》。据传汉武帝也曾用它来召唤日思夜想的李夫人,祈求能与她的魂魄再见上一面。此事虽难知真假,但仍因白居易的一首《李夫人》而被千古传颂,甚至,还流传到了东瀛——一如本作所示。

春信以美人指代汉武帝,把李夫人换成小生,将恋人之间的字字真情,看作是比返魂香更具法力的神品,运用传统的“见立绘”手法,重新解构了这个传颂千年的凄美故事,相较于平常的美人绘而言在文学性与故事性更胜一筹,充分展现了春信对生与死、古与今以及情与爱的独特理解,意义非凡,韵味绵长。

The young courtesan, her heart broken, burns her lover’s letters in a flaming brazier on an autumnal afternoon. And then, in the smoke – his image appears, evoking all the deep emotions of love and affection she’d sought to destroy.

It’s a somber, magical image from the brush of Suzuki Harunobu, considered by some to be the father of color Japanese woodblock prints. But while the design is creative to the point of being modernly surreal, its origins actually go way back to ancient China, making this a perfect print for Art Of Ukiyoe’s Chinese-Japanese-Western audience.

The idea of incense smoke conjuring humans was first seen in "Records of the Ten Continents in the Sea" written by Dongfang Shuo. It is said that Emperor Wu of the Han Dynasty also used it to summon Madam Li, of whom he dreamt day and night. Harunobu uses the beauty to represent Emperor Wu of Han and replaces Lady Li with a young man. It’s a clever switch, and it gives this marvelous design an entirely new power.

Interested in purchasing?
Please contact us.

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鈴木春信 Suzuki Harunobu (1724–1770)

见立返魂香
Courtesan Burning a Love Letter

1765-70

木版画 | 纵绘中判 | 27.5 x 20.9cm
Woodblock-print | Chuban tate -e | 27.5 x 20.9cm

非常轻微褪色;背面有先前装裱的残留物
Very slight faded; very slight centrefold; residue of the mounting paper on the back

PRICE ON REQUEST

秋草屏风掩映锦衾,年轻的姑娘正在火盆旁焚烧着卷卷书信。忽地浓烟伴着火舌升起,半空中,浮现出一位手持烟管青年的身影。眼见此景的姑娘赶紧提上衣袖,满眼深情地望向她心心念念的、可望而不可即的爱侣。

可令人起死回生的返魂香,最初见于东方朔所著的《海内十洲记》。据传汉武帝也曾用它来召唤日思夜想的李夫人,祈求能与她的魂魄再见上一面。此事虽难知真假,但仍因白居易的一首《李夫人》而被千古传颂,甚至,还流传到了东瀛——一如本作所示。

春信以美人指代汉武帝,把李夫人换成小生,将恋人之间的字字真情,看作是比返魂香更具法力的神品,运用传统的“见立绘”手法,重新解构了这个传颂千年的凄美故事,相较于平常的美人绘而言在文学性与故事性更胜一筹,充分展现了春信对生与死、古与今以及情与爱的独特理解,意义非凡,韵味绵长。

The young courtesan, her heart broken, burns her lover’s letters in a flaming brazier on an autumnal afternoon. And then, in the smoke – his image appears, evoking all the deep emotions of love and affection she’d sought to destroy.

It’s a somber, magical image from the brush of Suzuki Harunobu, considered by some to be the father of color Japanese woodblock prints. But while the design is creative to the point of being modernly surreal, its origins actually go way back to ancient China, making this a perfect print for Art Of Ukiyoe’s Chinese-Japanese-Western audience.

The idea of incense smoke conjuring humans was first seen in "Records of the Ten Continents in the Sea" written by Dongfang Shuo. It is said that Emperor Wu of the Han Dynasty also used it to summon Madam Li, of whom he dreamt day and night. Harunobu uses the beauty to represent Emperor Wu of Han and replaces Lady Li with a young man. It’s a clever switch, and it gives this marvelous design an entirely new power.

Interested in purchasing?
Please contact us.

鈴木春信 Suzuki Harunobu (1724–1770)

见立返魂香
Courtesan Burning a Love Letter

1765-70

木版画 | 纵绘中判 | 27.5 x 20.9cm
Woodblock-print | Chuban tate -e | 27.5 x 20.9cm

非常轻微褪色;背面有先前装裱的残留物
Very slight faded; very slight centrefold; residue of the mounting paper on the back

PRICE ON REQUEST

秋草屏风掩映锦衾,年轻的姑娘正在火盆旁焚烧着卷卷书信。忽地浓烟伴着火舌升起,半空中,浮现出一位手持烟管青年的身影。眼见此景的姑娘赶紧提上衣袖,满眼深情地望向她心心念念的、可望而不可即的爱侣。

可令人起死回生的返魂香,最初见于东方朔所著的《海内十洲记》。据传汉武帝也曾用它来召唤日思夜想的李夫人,祈求能与她的魂魄再见上一面。此事虽难知真假,但仍因白居易的一首《李夫人》而被千古传颂,甚至,还流传到了东瀛——一如本作所示。

春信以美人指代汉武帝,把李夫人换成小生,将恋人之间的字字真情,看作是比返魂香更具法力的神品,运用传统的“见立绘”手法,重新解构了这个传颂千年的凄美故事,相较于平常的美人绘而言在文学性与故事性更胜一筹,充分展现了春信对生与死、古与今以及情与爱的独特理解,意义非凡,韵味绵长。

The young courtesan, her heart broken, burns her lover’s letters in a flaming brazier on an autumnal afternoon. And then, in the smoke – his image appears, evoking all the deep emotions of love and affection she’d sought to destroy.

It’s a somber, magical image from the brush of Suzuki Harunobu, considered by some to be the father of color Japanese woodblock prints. But while the design is creative to the point of being modernly surreal, its origins actually go way back to ancient China, making this a perfect print for Art Of Ukiyoe’s Chinese-Japanese-Western audience.

The idea of incense smoke conjuring humans was first seen in "Records of the Ten Continents in the Sea" written by Dongfang Shuo. It is said that Emperor Wu of the Han Dynasty also used it to summon Madam Li, of whom he dreamt day and night. Harunobu uses the beauty to represent Emperor Wu of Han and replaces Lady Li with a young man. It’s a clever switch, and it gives this marvelous design an entirely new power.

Interested in purchasing?
Please contact us.

Suzuki Harunobu (1724-1770)

His women with their elegantly drawn oval faces, their thoughts perhaps elsewhere, had an ethereal and child-like quality. His children themselves seemingly possessed mature wisdom. His interior and exterior settings completed the picture of a vanished and dream-like world, calm prevailing always. Inky blacks were boldly juxtaposed with soft palettes of pink and orange.

This was the universe of Suzuki Harunobu. His prints are as instantly recognizable as those of later greats like Utamaro and Hokusai. Born in 1724, he was perhaps the first great Ukiyoe artist. And he contributed far more than his own works: he basically helped create the genre.

There is a classical quality in Harunobu’s work, a painterly sense of movement and light, and a romantic evocation of the court world. His beauties – and it is prints of beauties that dominate his repertoire -- have fine eyebrows and cherry lips, and slender frames cossetted within elegantly folding kimonos. They seem to glide through the air, like a breeze in spring; they are like beauties that breathe.

Some too are engaged in intimate acts – like many Ukiyoe masters, Harunobu produced many erotic works, often without his signature.

He was born to an upper-class family in Edo Castle in 1725 and, his talent evident, went to Kyoto to learn painting from Nishikawa Yushin, a famous artist of Kamikawa. He returned to Edo around 1760 and began to make a living by painting. He had close contacts with the famous scholar Hiraga Gennai and many poets who moved in the upper strata of society.

At the time, wealthy scholars would create “Egoyomi” – calendar-like works that noted each month of the year -- and give them as gifts; the more elegant the skilled the poetry and images, the better the scholar’s reputation. There was a brief craze for these. Because of his connections, Harunobu was soon sought-after to produce them, and his reputation grew.

Woodblock printing had been invented in ancient China but by Harunobu’s time, the technology had advanced very little over the centuries. In fact, prints were only 2- or 3-colors. Working with craftsmen, he devised methods to use more color blocks, and to keep them properly registered. Thus, his were the first designs reproduced in full color as Nishiki-e, or “brocade pictures.” Untold thousands would follow in the ensuing centuries.

This was far more involvement in the actual production of his prints than many of his peers. And his creativity in printing continued throughout his lifetime. One development was the use of embossing -- or blind printing -- to create patterns and textures without pigment.

To do this, thick hosho paper was needed. Publishers didn’t usually use such valuable paper because they wanted to keep prices down. This little detail is telling – like his early Egoyomi, Harunobu’s work was clearly seen as a luxury product for a wealthy market.

Interestingly, and perhaps somewhat because of the mass-printing techniques he helped develop, Ukiyoe prints eventually became art for the masses, costing roughly the same as a bowl or two of noodles. In time, the wealthy eschewed them. But Haronobu’s prints were always prized by the upper classes, who were ready to pay a tidy sum to own one.

Harunobu died in 1770. His reputation and prices have always been strong. But his designs were only part of his contribution. He helped create the Floating World.