Hasui | Clearing After a Snowfall on Mount Fuji
川瀨巴水 Kawase Hasui ( 1883–1957)
富士之雪晴
Clearing After a Snowfall on Mount Fuji
1932
木版画 | 纵绘大大判 | 39.4cm x 27cm
Woodblock-print | Large Oban tate-e | 39.4cm x 27cm
第二版次,由土井版画店出版;品相非常好
Second edition with publisher's 'Doi Hangaten' copyright seal ; great condition
$5,000
隆冬时节,瑞雪初霁,大气洁净透明,富士山积雪盖顶。若恰好遇上拂晓或傍晚时分,澄澈的天外射入一柱阳光,白皑皑的雪顶上,便会斜晕一抹绯红,一如少女羞涩的脸庞。此种自然景观被称作“红富士”,是富士山冬季限定的红妆。
在不知来过多少次的田子之浦,巴水解锁了富士山的每一面。但面对如此动人的“红富士”,乐于分享的他还是不舍得独享。他这天的运气实在不赖,不仅赶上了那抹转瞬即逝的绯红,甚至还拥有了双倍的美好——平静无风的水面光滑如镜,将另一座“红富士”稳稳地倒置在了水中央。这正是曾出现在旧版五千元日元纸币背面,富士山难得的另一绝景——“逆富士”。
然而这般良辰好景,岸边那两棵交错斜生,枝叶间挂满了绵密奶泡般积雪的苍松可早已历经过千千万万遍。“岁暮满山雪,松色郁青苍”。待到雪化之时,巴水还会再来吧,那时的他,又会如何描绘眼前的层层青绿呢?
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Please contact us.
川瀨巴水 Kawase Hasui ( 1883–1957)
富士之雪晴
Clearing After a Snowfall on Mount Fuji
1932
木版画 | 纵绘大大判 | 39.4cm x 27cm
Woodblock-print | Large Oban tate-e | 39.4cm x 27cm
第二版次,由土井版画店出版;品相非常好
Second edition with publisher's 'Doi Hangaten' copyright seal ; great condition
$5,000
隆冬时节,瑞雪初霁,大气洁净透明,富士山积雪盖顶。若恰好遇上拂晓或傍晚时分,澄澈的天外射入一柱阳光,白皑皑的雪顶上,便会斜晕一抹绯红,一如少女羞涩的脸庞。此种自然景观被称作“红富士”,是富士山冬季限定的红妆。
在不知来过多少次的田子之浦,巴水解锁了富士山的每一面。但面对如此动人的“红富士”,乐于分享的他还是不舍得独享。他这天的运气实在不赖,不仅赶上了那抹转瞬即逝的绯红,甚至还拥有了双倍的美好——平静无风的水面光滑如镜,将另一座“红富士”稳稳地倒置在了水中央。这正是曾出现在旧版五千元日元纸币背面,富士山难得的另一绝景——“逆富士”。
然而这般良辰好景,岸边那两棵交错斜生,枝叶间挂满了绵密奶泡般积雪的苍松可早已历经过千千万万遍。“岁暮满山雪,松色郁青苍”。待到雪化之时,巴水还会再来吧,那时的他,又会如何描绘眼前的层层青绿呢?
Interested in purchasing?
Please contact us.
川瀨巴水 Kawase Hasui ( 1883–1957)
富士之雪晴
Clearing After a Snowfall on Mount Fuji
1932
木版画 | 纵绘大大判 | 39.4cm x 27cm
Woodblock-print | Large Oban tate-e | 39.4cm x 27cm
第二版次,由土井版画店出版;品相非常好
Second edition with publisher's 'Doi Hangaten' copyright seal ; great condition
$5,000
隆冬时节,瑞雪初霁,大气洁净透明,富士山积雪盖顶。若恰好遇上拂晓或傍晚时分,澄澈的天外射入一柱阳光,白皑皑的雪顶上,便会斜晕一抹绯红,一如少女羞涩的脸庞。此种自然景观被称作“红富士”,是富士山冬季限定的红妆。
在不知来过多少次的田子之浦,巴水解锁了富士山的每一面。但面对如此动人的“红富士”,乐于分享的他还是不舍得独享。他这天的运气实在不赖,不仅赶上了那抹转瞬即逝的绯红,甚至还拥有了双倍的美好——平静无风的水面光滑如镜,将另一座“红富士”稳稳地倒置在了水中央。这正是曾出现在旧版五千元日元纸币背面,富士山难得的另一绝景——“逆富士”。
然而这般良辰好景,岸边那两棵交错斜生,枝叶间挂满了绵密奶泡般积雪的苍松可早已历经过千千万万遍。“岁暮满山雪,松色郁青苍”。待到雪化之时,巴水还会再来吧,那时的他,又会如何描绘眼前的层层青绿呢?
Interested in purchasing?
Please contact us.
Kawase Hasui (1883–1957)
asui Kawase 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.