Hiroshige | Musashi tamagawa, 36 Views of Mt. Fuji

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歌川広重 Utagawa Hiroshige (1797-1858)

富士三十六景 武蔵玉川
Musashi tamagawa, from the series of Thirty-six Views of Mount Fuji

1858

木版画 | 纵绘大判 | 36cm x 25cm
Woodblock-print | Oban tate-e | 36cm x 25cm

早期的版次;品相非常好
Early impression; great condition

SOLD

提到“富士”与“三十六景”,大家首先想到的,应该都是北斋于1830-1832年间创作的那套横绘风景画《富岳三十六景》。毕竟,这是一套包含有《神奈川冲浪里》《山下白雨》《凯风快晴》等一众名品的神作。但大多数人并不了解的是,广重也曾创作过名为《富士三十六景》的风景画系列,并且还有两套:一套为1852年创作的中判横绘;另一套则为1858年创作,1859年广重逝世后发行的大判纵绘,即本作来源。武藏,即武藏国,旧东海道令制国名,国境约覆盖了今东京都(不含岛屿部)、埼玉县以及神奈川县的东北部。多满川,即今多摩川,起源于山梨县甲州市的山地,在流经神奈川及东京后,最终注入东京湾。在东京段的日野渡口内,多摩川水流蜿蜒曲折,河床宁静而宽阔,不少地方必须得靠架桥或者摆渡才能通过。在风拂杨柳的季节,桥上,岸边,河内都能见到不少垂钓香鱼的身影。这种难得的美味不仅能让自己一饱口福,更能换些银两补贴家用,自然不容错过。通过与同题材的横绘作品对比后发现,广重在本作中似乎明显有意将中远景拉近,放大了远处的富士山和丹泽山地的比例。这样一来,既发挥了竖绘层次感强的优势,又巧妙地从视觉效果上突出了“富士三十六景”这一主题。身披紫云的这座富士山,也就成为了本系列中最独特的存在之一。

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Please contact us.

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歌川広重 Utagawa Hiroshige (1797-1858)

富士三十六景 武蔵玉川
Musashi tamagawa, from the series of Thirty-six Views of Mount Fuji

1858

木版画 | 纵绘大判 | 36cm x 25cm
Woodblock-print | Oban tate-e | 36cm x 25cm

早期的版次;品相非常好
Early impression; great condition

SOLD

提到“富士”与“三十六景”,大家首先想到的,应该都是北斋于1830-1832年间创作的那套横绘风景画《富岳三十六景》。毕竟,这是一套包含有《神奈川冲浪里》《山下白雨》《凯风快晴》等一众名品的神作。但大多数人并不了解的是,广重也曾创作过名为《富士三十六景》的风景画系列,并且还有两套:一套为1852年创作的中判横绘;另一套则为1858年创作,1859年广重逝世后发行的大判纵绘,即本作来源。武藏,即武藏国,旧东海道令制国名,国境约覆盖了今东京都(不含岛屿部)、埼玉县以及神奈川县的东北部。多满川,即今多摩川,起源于山梨县甲州市的山地,在流经神奈川及东京后,最终注入东京湾。在东京段的日野渡口内,多摩川水流蜿蜒曲折,河床宁静而宽阔,不少地方必须得靠架桥或者摆渡才能通过。在风拂杨柳的季节,桥上,岸边,河内都能见到不少垂钓香鱼的身影。这种难得的美味不仅能让自己一饱口福,更能换些银两补贴家用,自然不容错过。通过与同题材的横绘作品对比后发现,广重在本作中似乎明显有意将中远景拉近,放大了远处的富士山和丹泽山地的比例。这样一来,既发挥了竖绘层次感强的优势,又巧妙地从视觉效果上突出了“富士三十六景”这一主题。身披紫云的这座富士山,也就成为了本系列中最独特的存在之一。

Interested in purchasing?
Please contact us.

歌川広重 Utagawa Hiroshige (1797-1858)

富士三十六景 武蔵玉川
Musashi tamagawa, from the series of Thirty-six Views of Mount Fuji

1858

木版画 | 纵绘大判 | 36cm x 25cm
Woodblock-print | Oban tate-e | 36cm x 25cm

早期的版次;品相非常好
Early impression; great condition

SOLD

提到“富士”与“三十六景”,大家首先想到的,应该都是北斋于1830-1832年间创作的那套横绘风景画《富岳三十六景》。毕竟,这是一套包含有《神奈川冲浪里》《山下白雨》《凯风快晴》等一众名品的神作。但大多数人并不了解的是,广重也曾创作过名为《富士三十六景》的风景画系列,并且还有两套:一套为1852年创作的中判横绘;另一套则为1858年创作,1859年广重逝世后发行的大判纵绘,即本作来源。武藏,即武藏国,旧东海道令制国名,国境约覆盖了今东京都(不含岛屿部)、埼玉县以及神奈川县的东北部。多满川,即今多摩川,起源于山梨县甲州市的山地,在流经神奈川及东京后,最终注入东京湾。在东京段的日野渡口内,多摩川水流蜿蜒曲折,河床宁静而宽阔,不少地方必须得靠架桥或者摆渡才能通过。在风拂杨柳的季节,桥上,岸边,河内都能见到不少垂钓香鱼的身影。这种难得的美味不仅能让自己一饱口福,更能换些银两补贴家用,自然不容错过。通过与同题材的横绘作品对比后发现,广重在本作中似乎明显有意将中远景拉近,放大了远处的富士山和丹泽山地的比例。这样一来,既发挥了竖绘层次感强的优势,又巧妙地从视觉效果上突出了“富士三十六景”这一主题。身披紫云的这座富士山,也就成为了本系列中最独特的存在之一。

Interested in purchasing?
Please contact us.

Utagawa Hiroshige (1797-1858)

Ando Hiroshige (1897-1858) revolutionized the art of landscape prints during the Edo era, building on the success of his senior, Hokusai, but taking a more poetic and naturalist approach to portraying the beauty of Japan.

The son of a low-level Samurai assigned to the fire brigade in Edo, Hiroshige became a student of the Utagawa school as a young man. His first prints focused on beautiful women (bijin), and views of Edo. But in 1833 he began work on his most famous early work, his first series depicting the Tokaido, the "Great Sea Road" between Edo and Tokyo.

Today there is some controversy about this series. Initially, it was believed that Hiroshige had travelled the route along with a local lord (Daimyo) who was making a gift of horses to the Emperor. But more recent scholarship suggests Hiroshige never travelled the road himself, at least not the entire way, and made his designs using published guidebooks.

Nonetheless, the prints were wonderful and revolutionary. They embraced the seasons with a gentle lyricism missing from Hokusai's striking but stylized depictions. In Hiroshige's work, nature is sacred -- but it is always mixed with humanity, with travelers or little inns or bridges. There is a magical harmony between man and the elements.

His depiction of the seasons and weather is especially evocative. Snow blankets some views with a hushed silence, while rain streaks down furiously in others. In some prints natured is agitated; in others, calm prevails. Produced in a horizontal oban yoko-e format, the series was a smash hit.

The Tokaido series made Hiroshige famous, and he became incredible prolific. In the 1840s he produced many strong designs, but many mediocre ones, too, including several subsequent Tokaido series of varying quality.

In 1853, however, he made a big step. He turned his landscapes sideways, embracing a bold vertical oban tate-e format. This gave his designs new energy and a modern feel. The first of these was Famous Views of the Sixty-Odd Provinces. From them on, most of his most noted series were executed in this format.

He saved his greatest for his last. In 1856 he began work on 100 Famous Views of Edo, which many consider his most exceptional work. Here his home city was portrayed with energy and passion, and in these 119 designs he created an incredible record of a vanished place. In addition to the striking vertical format, he developed exciting new compositions, often juxtaposing a strong foreground element with a distant background.

Among the many famous images in this series are Squall at Ohashi and the Plum Garden in Komeido. Both of these were copied by Vincent Van Gogh, a great admirer of Hiroshige. Thus, the great Japanese artist had a profound effect on Western art.

Alas, his beloved Edo ended his life. Hiroshige was claimed by a cholera epidemic that swept the city in 1958. His pupil Shigenobu, who took the name Hiroshige II, completed The Famous Views of Edo.