Hasui | Abumi Promontory

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川瀨巴水 Kawase Hasui ( 1883–1957)

阿伏兔岬
Abumi Promontory

1950

木版画 | 纵绘大大判 | 39.5 x 26.8cm
Woodblock-print | Large Oban tate -e | 39.5 x 26.8cm

初摺;品相近完美
First edition; great condition

阿伏兔岬,位于广岛县东部沼隈半岛南端,因地貌形如伏兔而得名。其上有一座始建于公元992年的临济宗寺院磐台寺,以一间立于岬角,面朝濑户内海的观音堂而闻名于世,直至今日依然广受信众供奉。

若能选一个天清气朗的好日子,泛舟畅游于濑户内海,心中的忧闷定会悉数消散。眼前碧蓝无垠的海面仅有几面白帆作伴,投在水中的倒影被波纹切割成碎片,与天空中的几丝流云相映成趣。高耸海角上的观音堂慈爱地俯视着世间,保佑着每一条外出航行的船儿都能平安靠岸。晚年的巴水技艺虽已臻化境,却比往日更为热切地追求着那些逝去的,或已逐渐改变的诗意风景。于是,在广重创作出《六十余州名所图会 备后 阿武门观音堂》的一百二十年后,巴水也画下了“昭和之广重”眼中的观音堂。

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川瀨巴水 Kawase Hasui ( 1883–1957)

阿伏兔岬
Abumi Promontory

1950

木版画 | 纵绘大大判 | 39.5 x 26.8cm
Woodblock-print | Large Oban tate -e | 39.5 x 26.8cm

初摺;品相近完美
First edition; great condition

阿伏兔岬,位于广岛县东部沼隈半岛南端,因地貌形如伏兔而得名。其上有一座始建于公元992年的临济宗寺院磐台寺,以一间立于岬角,面朝濑户内海的观音堂而闻名于世,直至今日依然广受信众供奉。

若能选一个天清气朗的好日子,泛舟畅游于濑户内海,心中的忧闷定会悉数消散。眼前碧蓝无垠的海面仅有几面白帆作伴,投在水中的倒影被波纹切割成碎片,与天空中的几丝流云相映成趣。高耸海角上的观音堂慈爱地俯视着世间,保佑着每一条外出航行的船儿都能平安靠岸。晚年的巴水技艺虽已臻化境,却比往日更为热切地追求着那些逝去的,或已逐渐改变的诗意风景。于是,在广重创作出《六十余州名所图会 备后 阿武门观音堂》的一百二十年后,巴水也画下了“昭和之广重”眼中的观音堂。

Interested in purchasing?
Please contact us.

川瀨巴水 Kawase Hasui ( 1883–1957)

阿伏兔岬
Abumi Promontory

1950

木版画 | 纵绘大大判 | 39.5 x 26.8cm
Woodblock-print | Large Oban tate -e | 39.5 x 26.8cm

初摺;品相近完美
First edition; great condition

阿伏兔岬,位于广岛县东部沼隈半岛南端,因地貌形如伏兔而得名。其上有一座始建于公元992年的临济宗寺院磐台寺,以一间立于岬角,面朝濑户内海的观音堂而闻名于世,直至今日依然广受信众供奉。

若能选一个天清气朗的好日子,泛舟畅游于濑户内海,心中的忧闷定会悉数消散。眼前碧蓝无垠的海面仅有几面白帆作伴,投在水中的倒影被波纹切割成碎片,与天空中的几丝流云相映成趣。高耸海角上的观音堂慈爱地俯视着世间,保佑着每一条外出航行的船儿都能平安靠岸。晚年的巴水技艺虽已臻化境,却比往日更为热切地追求着那些逝去的,或已逐渐改变的诗意风景。于是,在广重创作出《六十余州名所图会 备后 阿武门观音堂》的一百二十年后,巴水也画下了“昭和之广重”眼中的观音堂。

Interested in purchasing?
Please contact us.

Kawase Hasui (1883–1957)

Kawase Hasui is perhaps the single most recognized woodblock artist of the Shin Hanga – new print – movement in the early- to mid-20th Century. Because he specialized in landscapes, many would say he was a successor to Hiroshige, noting his enveloping portrayals of nature, and his thoughtful placement of humans within them. But that would be too easy, because Hiroshige and Hasui in many ways could not be more different.

Whereas Hiroshige played with flat plains of negative space, Hasui embraced Western painting styles – if not techniques – to display water reflections, shadows and shades of light in all its combinations. You can easily discern the time of day and season from the light. Signs of the 20th Century Japan are everywhere – rickshaws, cars, telephone poles, steamships, even western-style umbrellas and rain slickers. Yes, he embraced snow and rain scenes like Hiroshige, and many famous views, but they live in a three-dimensional, modern world.

His prints are hugely sought-after today, with condition being extremely important to collectors. Many of the original woodblocks were destroyed in the Great Earthquake of 1923; finding examples of those pre-quake prints is challenging, indeed.

He was born Bunjiro Kawase in Tokyo in 1883, the son of a merchant. Hasui studied Japanese-style painting with Kiyokata and Western painting at the Hakubakai. He exhibited his first painting at 19. The publisher Shozaburo Watanabe – seeing the appeal of woodblock prints to the Western tourists then flooding Japan – took Hasui under his wing. The young man travelled widely to capture landscapes, making sketches as he went. Looking at the detail and perspective in some of his prints, one wonders: did he work from photographs as well?

Hasui’s Zojoji Temple in Snow – with a woman pushing against the furious snow with a traditional umbrella -- has been named an Intangible Cultural Treasure, the greatest artistic honor in postwar Japan. He died in 1957.

The publishers Doi, Kawaguchi, Sakai and others also produced some Hasui works. Learning to read the seals on the prints, and therefore dating them, takes time but is well worth it. If you can find this book at a reasonable price, go for it. It’s all there.