Kiyochika | Lumberyard at Fukagawa, One Hundred Views of Musashi
小林清亲 Kobayashi Kiyochika (1847–1915)
武蔵百景之内 深かわ木場
Lumberyard at Fukagawa, from the series of One Hundred Views of Musashi
1884
木版画 | 纵绘大判 | 37cm x 25cm
Woodblock-print | Oban-tate-e | 37cm x 25cm
初版；早期版次；颜色鲜艳；品相非常好
First edition; very early impression, color and condition
$6,200
Kobayashi Kiyochika was something of a shapeshifter during his quixotic Ukiyoe career. He first came on the scene in 1876 with a series of Tokyo cityscapes published by Daikokuya Heikichi. These designs used Western elements – not always successfully, but always interestingly – such as shadows, clouds and water reflections. Later in his career, he produced numerous depictions of fiery naval and land battles during the Sino-Japanese War.
But this print comes from what is perhaps his greatest series, “100 Views of Musashi,” which was published in 1884 by Maraya Tetsujiro. It is hard to imagine a more classic Japanese woodblock print concept. This series was an homage to Hiroshige’s legendary “100 Famous Views of Edo,” which was then 30 years in the past. Kiyochika borrowed Hiroshige’s devices -- or perhaps honored them -- but nonetheless made each print his own.
They are oban tate-e format, with cartouches and title boxes placed as Hiroshige’s were (although these feature synthetic pigments). They almost all feature dramatic and creative foreground elements competing with storied views in the background, as Hiroshige’s did, and they are often the same location. But many include hints of the newly arrived Westerners.
This is the lumberyard at Fukagawa, which Hiroshige portrayed several times, including here. A steady snow falls, as it had for Hiroshige. But whereas Hiroshige put us right in the middle of slanting lumber, Kiyochika sets those enticingly intersecting straight lines in the distance and contrasts them with the snow-crusted circular umbrella of a man holding a fish in the foreground.
It's a wonderful design and you can feel the chill. And nary a hint of the Western world can be found. This example is in pristine condition.
你能发现这幅画中藏着的两处彩蛋吗？
《武藏百景》是小林清亲于1884年推出的竖版风景绘系列，其气质颇具传统浮世绘风格，在构图与用色等方面皆致敬了歌川广重的名作《名所江户百景》。同时又融合了清亲强烈的个人风格，给观者以独特的审美体验。
明治时期的木场和广重三十年前笔下的模样几乎没什么变化，那些被木材商们整齐排列的木料依然静静地堆放在深川的流水旁。被雪覆盖的道路上，一位只见下半身的男子正打着伞提着木桶缓缓独行。木桶上头朝下捆着的那尾气鼓鼓的河豚许是今天的鱼获，应该过不了多久就要变为慰藉冬日肠胃的佳肴。只是在处理的时候，定要多加注意为妙。
最后回收一下开头的提问，相信细心的观者也一定能发现，那几丛在河豚正下方生长的雪中枯草，正好排列成了“小林清亲”四个歪歪扭扭的汉字。此外，男子伞面上的“丸铁”字样也指代着本系列的版元小林铁次郎（又名丸屋铁次郎），起到了广告+防伪标识的双重作用。相信无论再过去多少年，这两处彩蛋依旧能使观者会心一笑。
Interested in purchasing?
Please contact us.
小林清亲 Kobayashi Kiyochika (1847–1915)
武蔵百景之内 深かわ木場
Lumberyard at Fukagawa, from the series of One Hundred Views of Musashi
1884
木版画 | 纵绘大判 | 37cm x 25cm
Woodblock-print | Oban-tate-e | 37cm x 25cm
初版；早期版次；颜色鲜艳；品相非常好
First edition; very early impression, color and condition
$6,200
Kobayashi Kiyochika was something of a shapeshifter during his quixotic Ukiyoe career. He first came on the scene in 1876 with a series of Tokyo cityscapes published by Daikokuya Heikichi. These designs used Western elements – not always successfully, but always interestingly – such as shadows, clouds and water reflections. Later in his career, he produced numerous depictions of fiery naval and land battles during the Sino-Japanese War.
But this print comes from what is perhaps his greatest series, “100 Views of Musashi,” which was published in 1884 by Maraya Tetsujiro. It is hard to imagine a more classic Japanese woodblock print concept. This series was an homage to Hiroshige’s legendary “100 Famous Views of Edo,” which was then 30 years in the past. Kiyochika borrowed Hiroshige’s devices -- or perhaps honored them -- but nonetheless made each print his own.
They are oban tate-e format, with cartouches and title boxes placed as Hiroshige’s were (although these feature synthetic pigments). They almost all feature dramatic and creative foreground elements competing with storied views in the background, as Hiroshige’s did, and they are often the same location. But many include hints of the newly arrived Westerners.
This is the lumberyard at Fukagawa, which Hiroshige portrayed several times, including here. A steady snow falls, as it had for Hiroshige. But whereas Hiroshige put us right in the middle of slanting lumber, Kiyochika sets those enticingly intersecting straight lines in the distance and contrasts them with the snow-crusted circular umbrella of a man holding a fish in the foreground.
It's a wonderful design and you can feel the chill. And nary a hint of the Western world can be found. This example is in pristine condition.
你能发现这幅画中藏着的两处彩蛋吗？
《武藏百景》是小林清亲于1884年推出的竖版风景绘系列，其气质颇具传统浮世绘风格，在构图与用色等方面皆致敬了歌川广重的名作《名所江户百景》。同时又融合了清亲强烈的个人风格，给观者以独特的审美体验。
明治时期的木场和广重三十年前笔下的模样几乎没什么变化，那些被木材商们整齐排列的木料依然静静地堆放在深川的流水旁。被雪覆盖的道路上，一位只见下半身的男子正打着伞提着木桶缓缓独行。木桶上头朝下捆着的那尾气鼓鼓的河豚许是今天的鱼获，应该过不了多久就要变为慰藉冬日肠胃的佳肴。只是在处理的时候，定要多加注意为妙。
最后回收一下开头的提问，相信细心的观者也一定能发现，那几丛在河豚正下方生长的雪中枯草，正好排列成了“小林清亲”四个歪歪扭扭的汉字。此外，男子伞面上的“丸铁”字样也指代着本系列的版元小林铁次郎（又名丸屋铁次郎），起到了广告+防伪标识的双重作用。相信无论再过去多少年，这两处彩蛋依旧能使观者会心一笑。
Interested in purchasing?
Please contact us.
小林清亲 Kobayashi Kiyochika (1847–1915)
武蔵百景之内 深かわ木場
Lumberyard at Fukagawa, from the series of One Hundred Views of Musashi
1884
木版画 | 纵绘大判 | 37cm x 25cm
Woodblock-print | Oban-tate-e | 37cm x 25cm
初版；早期版次；颜色鲜艳；品相非常好
First edition; very early impression, color and condition
$6,200
Kobayashi Kiyochika was something of a shapeshifter during his quixotic Ukiyoe career. He first came on the scene in 1876 with a series of Tokyo cityscapes published by Daikokuya Heikichi. These designs used Western elements – not always successfully, but always interestingly – such as shadows, clouds and water reflections. Later in his career, he produced numerous depictions of fiery naval and land battles during the Sino-Japanese War.
But this print comes from what is perhaps his greatest series, “100 Views of Musashi,” which was published in 1884 by Maraya Tetsujiro. It is hard to imagine a more classic Japanese woodblock print concept. This series was an homage to Hiroshige’s legendary “100 Famous Views of Edo,” which was then 30 years in the past. Kiyochika borrowed Hiroshige’s devices -- or perhaps honored them -- but nonetheless made each print his own.
They are oban tate-e format, with cartouches and title boxes placed as Hiroshige’s were (although these feature synthetic pigments). They almost all feature dramatic and creative foreground elements competing with storied views in the background, as Hiroshige’s did, and they are often the same location. But many include hints of the newly arrived Westerners.
This is the lumberyard at Fukagawa, which Hiroshige portrayed several times, including here. A steady snow falls, as it had for Hiroshige. But whereas Hiroshige put us right in the middle of slanting lumber, Kiyochika sets those enticingly intersecting straight lines in the distance and contrasts them with the snow-crusted circular umbrella of a man holding a fish in the foreground.
It's a wonderful design and you can feel the chill. And nary a hint of the Western world can be found. This example is in pristine condition.
你能发现这幅画中藏着的两处彩蛋吗？
《武藏百景》是小林清亲于1884年推出的竖版风景绘系列，其气质颇具传统浮世绘风格，在构图与用色等方面皆致敬了歌川广重的名作《名所江户百景》。同时又融合了清亲强烈的个人风格，给观者以独特的审美体验。
明治时期的木场和广重三十年前笔下的模样几乎没什么变化，那些被木材商们整齐排列的木料依然静静地堆放在深川的流水旁。被雪覆盖的道路上，一位只见下半身的男子正打着伞提着木桶缓缓独行。木桶上头朝下捆着的那尾气鼓鼓的河豚许是今天的鱼获，应该过不了多久就要变为慰藉冬日肠胃的佳肴。只是在处理的时候，定要多加注意为妙。
最后回收一下开头的提问，相信细心的观者也一定能发现，那几丛在河豚正下方生长的雪中枯草，正好排列成了“小林清亲”四个歪歪扭扭的汉字。此外，男子伞面上的“丸铁”字样也指代着本系列的版元小林铁次郎（又名丸屋铁次郎），起到了广告+防伪标识的双重作用。相信无论再过去多少年，这两处彩蛋依旧能使观者会心一笑。
Interested in purchasing?
Please contact us.
Kobayashi Kiyochika (1847–1915)
Perhaps no Japanese woodblock print artist bridged the styles of the Edo and Meiji eras as well as Kobayashi Kiyochika. While some of his notable designs, especially his bijin or “beautiful women” prints, harkened back to the classic days of Ukiyoe, his later work documented the rapid modernization and Westernization of Japan. Indeed, he experimented — at times more successfully than others — with depicting light and shade in the manner of Western art.
Apparently self-taught, Kiychika’s first known prints date from the 1870s and are rampent with signs of modernization — red brick buildings and trains proliferate. Then he took a step back, creating “100 Famous Views of Musashi,” a modern hommage to Hiroshige and the beauty of then-vanishing traditional Japan. After this he mysteriously disappeared from the scene before emerging to focus on dramatic war scenes and more views of fast-evolving Tokyo. Later, he worked as a newspaper illustrator. He died in 1915, having travelled through time.