Shotei | Mt.Fuji from Tagonoura Bay
高橋松亭 Takahashi Shotei (1871–1945)
田子之浦
Mt.Fuji from Tagonoura Bay
1932
木版画 | 横绘大大判 | 26.4cm x 40cm
Woodblock-print | Large Yoko-e | 26.4cm x 40cm
初摺；品相非常好
First Edition; Great condition
$3,800
田子之浦，一个从《万叶集》诞生的奈良时代晚期流传至今的美好意象。现实中位于今静冈县的它，其实就是骏河湾的西岸。因地理位置优越，自古以来便是远眺富士山的绝佳地点。雪霁天晴，富士山一身银装，云雾如薄纱缭绕。或许是拂晓时分，山后，一抹绯红霞光爬升而上。在中近景里被雪松环绕着的平静水面内，一座与富岳等大对称的“逆富士”完美倒映。间或的阵阵水波也好似流云，更为其增添了几分富岳本尊都不具备的灵动之感。若不是有岸边停泊的几艘小木船和远处的石桥做参照，一时间还真就模糊了陆水的界线。田子之浦的“逆富士”胜景，果然名不虚传。值得一提的是，在老版5000日元（D号券）与现行版1000日元（E号券）的背面，都选用了一幅“逆富士”图案作为装饰，足可见日本人对其的重视与喜爱。
Interested in purchasing?
Please contact us.
高橋松亭 Takahashi Shotei (1871–1945)
田子之浦
Mt.Fuji from Tagonoura Bay
1932
木版画 | 横绘大大判 | 26.4cm x 40cm
Woodblock-print | Large Yoko-e | 26.4cm x 40cm
初摺；品相非常好
First Edition; Great condition
$3,800
田子之浦，一个从《万叶集》诞生的奈良时代晚期流传至今的美好意象。现实中位于今静冈县的它，其实就是骏河湾的西岸。因地理位置优越，自古以来便是远眺富士山的绝佳地点。雪霁天晴，富士山一身银装，云雾如薄纱缭绕。或许是拂晓时分，山后，一抹绯红霞光爬升而上。在中近景里被雪松环绕着的平静水面内，一座与富岳等大对称的“逆富士”完美倒映。间或的阵阵水波也好似流云，更为其增添了几分富岳本尊都不具备的灵动之感。若不是有岸边停泊的几艘小木船和远处的石桥做参照，一时间还真就模糊了陆水的界线。田子之浦的“逆富士”胜景，果然名不虚传。值得一提的是，在老版5000日元（D号券）与现行版1000日元（E号券）的背面，都选用了一幅“逆富士”图案作为装饰，足可见日本人对其的重视与喜爱。
Interested in purchasing?
Please contact us.
高橋松亭 Takahashi Shotei (1871–1945)
田子之浦
Mt.Fuji from Tagonoura Bay
1932
木版画 | 横绘大大判 | 26.4cm x 40cm
Woodblock-print | Large Yoko-e | 26.4cm x 40cm
初摺；品相非常好
First Edition; Great condition
$3,800
田子之浦，一个从《万叶集》诞生的奈良时代晚期流传至今的美好意象。现实中位于今静冈县的它，其实就是骏河湾的西岸。因地理位置优越，自古以来便是远眺富士山的绝佳地点。雪霁天晴，富士山一身银装，云雾如薄纱缭绕。或许是拂晓时分，山后，一抹绯红霞光爬升而上。在中近景里被雪松环绕着的平静水面内，一座与富岳等大对称的“逆富士”完美倒映。间或的阵阵水波也好似流云，更为其增添了几分富岳本尊都不具备的灵动之感。若不是有岸边停泊的几艘小木船和远处的石桥做参照，一时间还真就模糊了陆水的界线。田子之浦的“逆富士”胜景，果然名不虚传。值得一提的是，在老版5000日元（D号券）与现行版1000日元（E号券）的背面，都选用了一幅“逆富士”图案作为装饰，足可见日本人对其的重视与喜爱。
Interested in purchasing?
Please contact us.
Takahashi Shotei (1871–1945)
Takahashi Shotei may have once been the most well-known Japanese woodblock print artist in the world, even if the Westerners who flooded Japan in the early part of the 20th Century didn’t know his name.
Watanabe Shozaburo hired him to design shinsaku-hanga (souvenir prints) to fulfill tourists’ demand for Ukiyoe-style woodblock landscape prints similar to those created in the past by masters of that genre, especially Hiroshige. These prints sold extremely well to this new audience, and were often in unusual sizes, to striking effect. (We wonder what Hiroshige would have thought of them.)
Shotei eventually took the name Hiroaki and produced hundreds of designs, but the blocks were destroyed in the Great Kanto earthquake of 1923. This is when Watanabe assigned him the unusual task of recreating his own works. He lived until 1945.