Kiyochika | Sogo at the Ferry Landing
小林清亲 Kobayashi Kiyochika (1847–1915)
庄吾渡口之图
Sogo at the Ferry Landing
1884
木版画 | 三联续绘-纵绘大判 | 36.5cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 36.5cm x 25cm x 3
品相非常好
Very good condition
$2,250
“呜呼甚平！呜呼庄吾！义哉诚哉！”近四百年前的一个雪夜，一名面容坚毅，眉头紧锁的男子跌跌撞撞，顶风冒血赶到了位于今千叶县北部的一处渡口。这位为民请愿的义士名叫木内庄吾（佐仓惣五郎），此刻正躲避着领主堀田家的追兵抓捕，虽然想要走水路远离，可渡口船只早已被堀田家下令连排锁住，动弹不得。危急关头，庄吾向在此守卫的甚平（甚兵卫）求情，本作画面，即由此展开。树叶落尽，芦荻萧瑟，河岸上，庄吾跪在积雪中，双手合十，眼神真挚，言辞恳切，即使斗笠已被寒风刮落，也只管与甚平表明他为百姓生计请愿的一腔热血，请求他立刻出船；一身艄公打扮的甚平得知真相后大吃一惊，转而忧愤交加，嫉恶如仇的他立刻用快刀斩开了船间锁链，抛在船头，撑起竹篙向庄吾驶来。仁人与义士，自是惺惺相惜。等到小舟抵达彼岸的水神之森，庄吾终于回到了家中，并与妻子交代完了一切；在复赶回渡口与甚平会合时，不幸被想要抓捕自己的喜右卫门发现，两人便扭打在了一块；前来找寻庄吾的甚平此时正好赶到，协力杀死了喜右卫门，并将其尸体沉进沼泽。最终，甚平将庄吾安全送往了目的地，在目送完庄吾向西远去的背影后，跃入水中自尽。英雄事迹，可歌可泣。
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小林清亲 Kobayashi Kiyochika (1847–1915)
庄吾渡口之图
Sogo at the Ferry Landing
1884
木版画 | 三联续绘-纵绘大判 | 36.5cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 36.5cm x 25cm x 3
品相非常好
Very good condition
$2,250
“呜呼甚平！呜呼庄吾！义哉诚哉！”近四百年前的一个雪夜，一名面容坚毅，眉头紧锁的男子跌跌撞撞，顶风冒血赶到了位于今千叶县北部的一处渡口。这位为民请愿的义士名叫木内庄吾（佐仓惣五郎），此刻正躲避着领主堀田家的追兵抓捕，虽然想要走水路远离，可渡口船只早已被堀田家下令连排锁住，动弹不得。危急关头，庄吾向在此守卫的甚平（甚兵卫）求情，本作画面，即由此展开。树叶落尽，芦荻萧瑟，河岸上，庄吾跪在积雪中，双手合十，眼神真挚，言辞恳切，即使斗笠已被寒风刮落，也只管与甚平表明他为百姓生计请愿的一腔热血，请求他立刻出船；一身艄公打扮的甚平得知真相后大吃一惊，转而忧愤交加，嫉恶如仇的他立刻用快刀斩开了船间锁链，抛在船头，撑起竹篙向庄吾驶来。仁人与义士，自是惺惺相惜。等到小舟抵达彼岸的水神之森，庄吾终于回到了家中，并与妻子交代完了一切；在复赶回渡口与甚平会合时，不幸被想要抓捕自己的喜右卫门发现，两人便扭打在了一块；前来找寻庄吾的甚平此时正好赶到，协力杀死了喜右卫门，并将其尸体沉进沼泽。最终，甚平将庄吾安全送往了目的地，在目送完庄吾向西远去的背影后，跃入水中自尽。英雄事迹，可歌可泣。
Interested in purchasing?
Please contact us.
小林清亲 Kobayashi Kiyochika (1847–1915)
庄吾渡口之图
Sogo at the Ferry Landing
1884
木版画 | 三联续绘-纵绘大判 | 36.5cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 36.5cm x 25cm x 3
品相非常好
Very good condition
$2,250
“呜呼甚平！呜呼庄吾！义哉诚哉！”近四百年前的一个雪夜，一名面容坚毅，眉头紧锁的男子跌跌撞撞，顶风冒血赶到了位于今千叶县北部的一处渡口。这位为民请愿的义士名叫木内庄吾（佐仓惣五郎），此刻正躲避着领主堀田家的追兵抓捕，虽然想要走水路远离，可渡口船只早已被堀田家下令连排锁住，动弹不得。危急关头，庄吾向在此守卫的甚平（甚兵卫）求情，本作画面，即由此展开。树叶落尽，芦荻萧瑟，河岸上，庄吾跪在积雪中，双手合十，眼神真挚，言辞恳切，即使斗笠已被寒风刮落，也只管与甚平表明他为百姓生计请愿的一腔热血，请求他立刻出船；一身艄公打扮的甚平得知真相后大吃一惊，转而忧愤交加，嫉恶如仇的他立刻用快刀斩开了船间锁链，抛在船头，撑起竹篙向庄吾驶来。仁人与义士，自是惺惺相惜。等到小舟抵达彼岸的水神之森，庄吾终于回到了家中，并与妻子交代完了一切；在复赶回渡口与甚平会合时，不幸被想要抓捕自己的喜右卫门发现，两人便扭打在了一块；前来找寻庄吾的甚平此时正好赶到，协力杀死了喜右卫门，并将其尸体沉进沼泽。最终，甚平将庄吾安全送往了目的地，在目送完庄吾向西远去的背影后，跃入水中自尽。英雄事迹，可歌可泣。
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 homage 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.