Hiroshige | Pilgrims Visiting the Shrine of Benten at Enoshima in Sagami Province
歌川広重 Utagawa Hiroshige (1797-1858)
相州江岛弁才天开帐参诣群集之图
Pilgrims Visiting the Shrine of Benten at Enoshima in Sagami Province
1850
木版画 | 三联续绘-纵绘大判 | 36.5cm × 25cm × 3
Woodblock-print | Triptych-Oban-tate-e | 36.5cm × 25cm × 3
品相非常好
Very good condition
$6,500
江之岛，位于今神奈川县藤泽市，是著名的日本三大弁才天神社——江岛神社的所在地。江户后期，随着社会经济的发展，百姓的闲暇时光越来越多。这时，距离江户城不远的江之岛，便成为了大家旅行度假的首选之一；要是正好赶上了六年一度的弁才天开帐参拜，在场的各位游客与朝圣者，就一定能真切体会到什么叫人山人海。本幅三联绘所呈现的，正是1851年那次开帐的热闹场面。作为七福神中唯一的女神，弁才天拥有着一长串的福德名头：音乐与艺能，智慧与文学，辩论与学识，思索与欢喜，恋爱与子嗣昌盛，农业与丰收……如此全能的女福神自然会吸引一大批信众，尤其是在江户时期的音乐界。在音乐从业者们的眼中，弁才天即至高无上的艺术女神，是一切灵感与技艺的来源。所以对他们而言，江之岛的每届开帐，都是不容错过的朝圣之旅。富士山远，江之岛外，碧波迭起。狭长海滩上，无数的艺人们涌向江之岛。从所撑和伞的纹章分辨，一共有着四支不同的队伍：画面最左侧，伞面为绯红角木瓜纹的队伍代表着常磐津节，是净琉璃八大流派之一。常磐津节的演员，由被称为“太夫”的讲述人，和演奏三味线的“三味线方”组成，其音乐特点是悠闲而稳重；在常磐津节队伍右侧，伞面为咖色菱三柏纹的队伍则代表着清元节，亦是净琉璃八大流派之一。与常磐津节相比，曲调高亢且情感浓烈；在清元节队伍前方，是出发最早，只见人员背影的，伞面为薄红三杵纹的江户长呗杵屋队伍。作为近代日本民乐重要的组成部分，长呗也是一类以三味线为伴奏乐器的音乐类型，至今仍有着一众专业艺人与爱好者；而在画面最右侧，以江户紫五瓣樱纹为伞面装饰的队伍，乃是富本节，与之前提到的常磐津节与清元节合称为“丰后三流”，曲风以细腻迷人见长。江之岛的风光四季宜人，但少有如此刻间的别致魅力。每一位艳丽女子，都是弁才天的信徒，她们热爱着艺术，同时也渴望着受到女神的祝福。下一次的开帐，就是六年以后了。等到那时，队伍中的这些女童们，也都应该出落成一位位婀娜的少女了吧。
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Please contact us.
歌川広重 Utagawa Hiroshige (1797-1858)
相州江岛弁才天开帐参诣群集之图
Pilgrims Visiting the Shrine of Benten at Enoshima in Sagami Province
1850
木版画 | 三联续绘-纵绘大判 | 36.5cm × 25cm × 3
Woodblock-print | Triptych-Oban-tate-e | 36.5cm × 25cm × 3
品相非常好
Very good condition
$6,500
江之岛，位于今神奈川县藤泽市，是著名的日本三大弁才天神社——江岛神社的所在地。江户后期，随着社会经济的发展，百姓的闲暇时光越来越多。这时，距离江户城不远的江之岛，便成为了大家旅行度假的首选之一；要是正好赶上了六年一度的弁才天开帐参拜，在场的各位游客与朝圣者，就一定能真切体会到什么叫人山人海。本幅三联绘所呈现的，正是1851年那次开帐的热闹场面。作为七福神中唯一的女神，弁才天拥有着一长串的福德名头：音乐与艺能，智慧与文学，辩论与学识，思索与欢喜，恋爱与子嗣昌盛，农业与丰收……如此全能的女福神自然会吸引一大批信众，尤其是在江户时期的音乐界。在音乐从业者们的眼中，弁才天即至高无上的艺术女神，是一切灵感与技艺的来源。所以对他们而言，江之岛的每届开帐，都是不容错过的朝圣之旅。富士山远，江之岛外，碧波迭起。狭长海滩上，无数的艺人们涌向江之岛。从所撑和伞的纹章分辨，一共有着四支不同的队伍：画面最左侧，伞面为绯红角木瓜纹的队伍代表着常磐津节，是净琉璃八大流派之一。常磐津节的演员，由被称为“太夫”的讲述人，和演奏三味线的“三味线方”组成，其音乐特点是悠闲而稳重；在常磐津节队伍右侧，伞面为咖色菱三柏纹的队伍则代表着清元节，亦是净琉璃八大流派之一。与常磐津节相比，曲调高亢且情感浓烈；在清元节队伍前方，是出发最早，只见人员背影的，伞面为薄红三杵纹的江户长呗杵屋队伍。作为近代日本民乐重要的组成部分，长呗也是一类以三味线为伴奏乐器的音乐类型，至今仍有着一众专业艺人与爱好者；而在画面最右侧，以江户紫五瓣樱纹为伞面装饰的队伍，乃是富本节，与之前提到的常磐津节与清元节合称为“丰后三流”，曲风以细腻迷人见长。江之岛的风光四季宜人，但少有如此刻间的别致魅力。每一位艳丽女子，都是弁才天的信徒，她们热爱着艺术，同时也渴望着受到女神的祝福。下一次的开帐，就是六年以后了。等到那时，队伍中的这些女童们，也都应该出落成一位位婀娜的少女了吧。
Interested in purchasing?
Please contact us.
歌川広重 Utagawa Hiroshige (1797-1858)
相州江岛弁才天开帐参诣群集之图
Pilgrims Visiting the Shrine of Benten at Enoshima in Sagami Province
1850
木版画 | 三联续绘-纵绘大判 | 36.5cm × 25cm × 3
Woodblock-print | Triptych-Oban-tate-e | 36.5cm × 25cm × 3
品相非常好
Very good condition
$6,500
江之岛，位于今神奈川县藤泽市，是著名的日本三大弁才天神社——江岛神社的所在地。江户后期，随着社会经济的发展，百姓的闲暇时光越来越多。这时，距离江户城不远的江之岛，便成为了大家旅行度假的首选之一；要是正好赶上了六年一度的弁才天开帐参拜，在场的各位游客与朝圣者，就一定能真切体会到什么叫人山人海。本幅三联绘所呈现的，正是1851年那次开帐的热闹场面。作为七福神中唯一的女神，弁才天拥有着一长串的福德名头：音乐与艺能，智慧与文学，辩论与学识，思索与欢喜，恋爱与子嗣昌盛，农业与丰收……如此全能的女福神自然会吸引一大批信众，尤其是在江户时期的音乐界。在音乐从业者们的眼中，弁才天即至高无上的艺术女神，是一切灵感与技艺的来源。所以对他们而言，江之岛的每届开帐，都是不容错过的朝圣之旅。富士山远，江之岛外，碧波迭起。狭长海滩上，无数的艺人们涌向江之岛。从所撑和伞的纹章分辨，一共有着四支不同的队伍：画面最左侧，伞面为绯红角木瓜纹的队伍代表着常磐津节，是净琉璃八大流派之一。常磐津节的演员，由被称为“太夫”的讲述人，和演奏三味线的“三味线方”组成，其音乐特点是悠闲而稳重；在常磐津节队伍右侧，伞面为咖色菱三柏纹的队伍则代表着清元节，亦是净琉璃八大流派之一。与常磐津节相比，曲调高亢且情感浓烈；在清元节队伍前方，是出发最早，只见人员背影的，伞面为薄红三杵纹的江户长呗杵屋队伍。作为近代日本民乐重要的组成部分，长呗也是一类以三味线为伴奏乐器的音乐类型，至今仍有着一众专业艺人与爱好者；而在画面最右侧，以江户紫五瓣樱纹为伞面装饰的队伍，乃是富本节，与之前提到的常磐津节与清元节合称为“丰后三流”，曲风以细腻迷人见长。江之岛的风光四季宜人，但少有如此刻间的别致魅力。每一位艳丽女子，都是弁才天的信徒，她们热爱着艺术，同时也渴望着受到女神的祝福。下一次的开帐，就是六年以后了。等到那时，队伍中的这些女童们，也都应该出落成一位位婀娜的少女了吧。
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.