Kunichika | 8pm, Scenes of the Twenty four Hours
豐原国周Toyohara Kunichika (1835–1900)
见立昼夜 二十四时之内 午后八时
8pm, from the series of Scenes of the Twenty four Hours
1891
木版画 | 纵绘大判 | 35.5cm x 23.5cm
Woodblock-print | Oban tate-e | 35.5cm x 23.5cm
颜色鲜艳；经修剪；有托底
Great color; trimmed; writing and tape remnents verso
$400
《见立昼夜廿四时之内》，是丰原国周于1890至1891年创作的竖绘美人图系列。全套按小时划分全天，描绘了明治中期各种职业和身份女性的二十四小时。其内既有从江户时代流传的传统风俗，亦有表现着西方风尚的作品，东西碰撞，趣味十足。夜间八点，置行灯已亮，正是做女红的好时段。身着蓝青绿配色缟柄的姑娘翻出针头线脑，拿起一匹新裁的红花唐草布料，思索着怎样才能尽显它的美好。系着铃铛的顽皮猫儿目光狡黠，绕至主人身后，亮出锐利钩爪，非得要打扰玩闹一番才算得意，惹得姑娘面有愠色。但这闺房中又哪能少得了它呢？这些剪子铰下来的布头儿，说不定还可以给它做条新项圈呢。
Interested in purchasing?
Please contact us.
豐原国周Toyohara Kunichika (1835–1900)
见立昼夜 二十四时之内 午后八时
8pm, from the series of Scenes of the Twenty four Hours
1891
木版画 | 纵绘大判 | 35.5cm x 23.5cm
Woodblock-print | Oban tate-e | 35.5cm x 23.5cm
颜色鲜艳；经修剪；有托底
Great color; trimmed; writing and tape remnents verso
$400
《见立昼夜廿四时之内》，是丰原国周于1890至1891年创作的竖绘美人图系列。全套按小时划分全天，描绘了明治中期各种职业和身份女性的二十四小时。其内既有从江户时代流传的传统风俗，亦有表现着西方风尚的作品，东西碰撞，趣味十足。夜间八点，置行灯已亮，正是做女红的好时段。身着蓝青绿配色缟柄的姑娘翻出针头线脑，拿起一匹新裁的红花唐草布料，思索着怎样才能尽显它的美好。系着铃铛的顽皮猫儿目光狡黠，绕至主人身后，亮出锐利钩爪，非得要打扰玩闹一番才算得意，惹得姑娘面有愠色。但这闺房中又哪能少得了它呢？这些剪子铰下来的布头儿，说不定还可以给它做条新项圈呢。
Interested in purchasing?
Please contact us.
豐原国周Toyohara Kunichika (1835–1900)
见立昼夜 二十四时之内 午后八时
8pm, from the series of Scenes of the Twenty four Hours
1891
木版画 | 纵绘大判 | 35.5cm x 23.5cm
Woodblock-print | Oban tate-e | 35.5cm x 23.5cm
颜色鲜艳；经修剪；有托底
Great color; trimmed; writing and tape remnents verso
$400
《见立昼夜廿四时之内》，是丰原国周于1890至1891年创作的竖绘美人图系列。全套按小时划分全天，描绘了明治中期各种职业和身份女性的二十四小时。其内既有从江户时代流传的传统风俗，亦有表现着西方风尚的作品，东西碰撞，趣味十足。夜间八点，置行灯已亮，正是做女红的好时段。身着蓝青绿配色缟柄的姑娘翻出针头线脑，拿起一匹新裁的红花唐草布料，思索着怎样才能尽显它的美好。系着铃铛的顽皮猫儿目光狡黠，绕至主人身后，亮出锐利钩爪，非得要打扰玩闹一番才算得意，惹得姑娘面有愠色。但这闺房中又哪能少得了它呢？这些剪子铰下来的布头儿，说不定还可以给它做条新项圈呢。
Interested in purchasing?
Please contact us.
Toyohara Kunichika (1835–1900)
Toyohara Kunichika’s father ran a bathhouse, and there’s a good deal of sly humor and energy in his son’s work, whether it be in his depictions of historical scenes, beautiful women — bijin — or a gaggle of naked beautiful women cavorting joyously in, yes, a bathhouse.
But without a doubt, Kunichika’s most important genre was yakusha-e, woodblock prints of kabuki actors and scenes from popular plays.
A student of Kunisada, Kunichika worked in both the Edo and Meiji periods and produced more than 120 series for more than 100 publishers. He was fascinated by examples of Western art then being seen for the first time in Japan. Andreas Marks, in his fine book, “Japanese Woodblock Prints,” notes that Kunichika often placed his scenes within frames as if they were oil paintings. And so it was a great honor when he was asked to contribute to the world exhibition in Paris in 1867, at the very dawn of Modern Japan.