Hasui | Kozu, Osaka, Souvenirs of Travel, Third Series
川瀨巴水 Kawase Hasui ( 1883–1957)
旅行第三集 大阪高津
Kozu, Osaka, from the series of Souvenirs of Travel, Third Series
1924
木版画 | 纵绘大大判 | 39cm x 27cm
Woodblock-print | Large Oban tate-e | 39cm x 27cm
非常早期的版次，带渡边的香肠章；品相非常好
Very early edition with publisher's 'D' copyright seal ; great condition
$6,200
1923年9月，关东大地震引发的火灾烧毁了巴水大量的原画与写生帖；版元渡边庄三郎亦损失惨重，失去了几乎所有的版画与版木。但近乎一无所有的两人并没有一蹶不振，反而迅速规划好了下一步——出版《旅行纪念品》的第三集。于是，巴水开启了他一生中最长的一次旅行——此次旅行长达102天，足迹踏遍了几乎整个本州岛及九州地方。之后，巴水用五年的时光，26幅作品再现了他眼中的历历风景，为《旅行纪念品》系列，画上了一个圆满的句点。
高津宫，是位于大阪府大阪市中央区的一座神社，始建于公元866年，主祭神为日本第16代天皇仁德天皇。历史悠久的它，是众多经典落语如《高津之富》《高仓狐》以及《崇德院》（大阪版）的故事发生地，自古以来就是大阪町人们的文化中心。
夜幕降临，一颗孤星高悬夜空。此刻，被月光笼罩着的高津宫是鸟瞰全大阪的最佳地点。大正后期的巴水还保留着一丝青涩的认真气，依然会诚实精确地描摹建筑物的本身。透过横平竖直的神社梁柱，你可以看见大阪城正在夜色的催化下，慢慢地苏醒。淡紫色的薄雾氤氲在街市中，点点橘黄的灯火亮起。华灯初上，古今交汇，踱步在静谧的市外一角，脚下斑驳的唯有莹莹月光；眼内尽收的，则是大正浪漫之尾奏。
Interested in purchasing?
Please contact us.
川瀨巴水 Kawase Hasui ( 1883–1957)
旅行第三集 大阪高津
Kozu, Osaka, from the series of Souvenirs of Travel, Third Series
1924
木版画 | 纵绘大大判 | 39cm x 27cm
Woodblock-print | Large Oban tate-e | 39cm x 27cm
非常早期的版次，带渡边的香肠章；品相非常好
Very early edition with publisher's 'D' copyright seal ; great condition
$6,200
1923年9月，关东大地震引发的火灾烧毁了巴水大量的原画与写生帖；版元渡边庄三郎亦损失惨重，失去了几乎所有的版画与版木。但近乎一无所有的两人并没有一蹶不振，反而迅速规划好了下一步——出版《旅行纪念品》的第三集。于是，巴水开启了他一生中最长的一次旅行——此次旅行长达102天，足迹踏遍了几乎整个本州岛及九州地方。之后，巴水用五年的时光，26幅作品再现了他眼中的历历风景，为《旅行纪念品》系列，画上了一个圆满的句点。
高津宫，是位于大阪府大阪市中央区的一座神社，始建于公元866年，主祭神为日本第16代天皇仁德天皇。历史悠久的它，是众多经典落语如《高津之富》《高仓狐》以及《崇德院》（大阪版）的故事发生地，自古以来就是大阪町人们的文化中心。
夜幕降临，一颗孤星高悬夜空。此刻，被月光笼罩着的高津宫是鸟瞰全大阪的最佳地点。大正后期的巴水还保留着一丝青涩的认真气，依然会诚实精确地描摹建筑物的本身。透过横平竖直的神社梁柱，你可以看见大阪城正在夜色的催化下，慢慢地苏醒。淡紫色的薄雾氤氲在街市中，点点橘黄的灯火亮起。华灯初上，古今交汇，踱步在静谧的市外一角，脚下斑驳的唯有莹莹月光；眼内尽收的，则是大正浪漫之尾奏。
Interested in purchasing?
Please contact us.
川瀨巴水 Kawase Hasui ( 1883–1957)
旅行第三集 大阪高津
Kozu, Osaka, from the series of Souvenirs of Travel, Third Series
1924
木版画 | 纵绘大大判 | 39cm x 27cm
Woodblock-print | Large Oban tate-e | 39cm x 27cm
非常早期的版次，带渡边的香肠章；品相非常好
Very early edition with publisher's 'D' copyright seal ; great condition
$6,200
1923年9月，关东大地震引发的火灾烧毁了巴水大量的原画与写生帖；版元渡边庄三郎亦损失惨重，失去了几乎所有的版画与版木。但近乎一无所有的两人并没有一蹶不振，反而迅速规划好了下一步——出版《旅行纪念品》的第三集。于是，巴水开启了他一生中最长的一次旅行——此次旅行长达102天，足迹踏遍了几乎整个本州岛及九州地方。之后，巴水用五年的时光，26幅作品再现了他眼中的历历风景，为《旅行纪念品》系列，画上了一个圆满的句点。
高津宫，是位于大阪府大阪市中央区的一座神社，始建于公元866年，主祭神为日本第16代天皇仁德天皇。历史悠久的它，是众多经典落语如《高津之富》《高仓狐》以及《崇德院》（大阪版）的故事发生地，自古以来就是大阪町人们的文化中心。
夜幕降临，一颗孤星高悬夜空。此刻，被月光笼罩着的高津宫是鸟瞰全大阪的最佳地点。大正后期的巴水还保留着一丝青涩的认真气，依然会诚实精确地描摹建筑物的本身。透过横平竖直的神社梁柱，你可以看见大阪城正在夜色的催化下，慢慢地苏醒。淡紫色的薄雾氤氲在街市中，点点橘黄的灯火亮起。华灯初上，古今交汇，踱步在静谧的市外一角，脚下斑驳的唯有莹莹月光；眼内尽收的，则是大正浪漫之尾奏。
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.