Shotei | Temple of Kannon at Asakusa
高橋松亭 Takahashi Shotei (1871–1945)
浅草观音堂
Temple of Kannon at Asakusa
1936
木版画 | 大短册纵绘 | 38cm x 17.3cm
Woodblock-print | Nagaban Tate-e | 38cm x 17.3cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition.
$3,200
你知道什么是木鼻吗？
如果对日本传统建筑稍有了解，你一定也对那些位于大立柱上方突出部分，雕刻得颇为精美的狮子或貘形木雕不陌生，而它们正是木鼻。在镰仓时代，木鼻的造型还承袭唐风，线条颇为简洁；步入江户时代后，人们便开始在木鼻的装饰性上大做文章，无数华丽的龙、狮、貘、流云等形象攀缘而上，为无数神社寺院形成了一道道亮丽的风景线。
不同于一众以浅草观音堂为题材的画家，松亭在本作中的取景不可谓不奇绝。狭长的画幅中，最惹眼的反倒是上方堂檐下的斗拱与木鼻，只见青狮蓝狮毛涡丰盈，金睛圆睁，蓝貘白牙锐利，长鼻微曲，皆是一派威武神勇。顺着巨大的朱红方形檐柱下移视线，天外飘絮，满树琼花，鸟雀翻飞，始知晓一场瑞雪已来到。也不知那两把和伞后的主人是谁，或是在赏雪，还是在祈愿，无尽的遐想空间，就留以观者慢慢品鉴。
Interested in purchasing?
Please contact us.
高橋松亭 Takahashi Shotei (1871–1945)
浅草观音堂
Temple of Kannon at Asakusa
1936
木版画 | 大短册纵绘 | 38cm x 17.3cm
Woodblock-print | Nagaban Tate-e | 38cm x 17.3cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition.
$3,200
你知道什么是木鼻吗？
如果对日本传统建筑稍有了解，你一定也对那些位于大立柱上方突出部分，雕刻得颇为精美的狮子或貘形木雕不陌生，而它们正是木鼻。在镰仓时代，木鼻的造型还承袭唐风，线条颇为简洁；步入江户时代后，人们便开始在木鼻的装饰性上大做文章，无数华丽的龙、狮、貘、流云等形象攀缘而上，为无数神社寺院形成了一道道亮丽的风景线。
不同于一众以浅草观音堂为题材的画家，松亭在本作中的取景不可谓不奇绝。狭长的画幅中，最惹眼的反倒是上方堂檐下的斗拱与木鼻，只见青狮蓝狮毛涡丰盈，金睛圆睁，蓝貘白牙锐利，长鼻微曲，皆是一派威武神勇。顺着巨大的朱红方形檐柱下移视线，天外飘絮，满树琼花，鸟雀翻飞，始知晓一场瑞雪已来到。也不知那两把和伞后的主人是谁，或是在赏雪，还是在祈愿，无尽的遐想空间，就留以观者慢慢品鉴。
Interested in purchasing?
Please contact us.
高橋松亭 Takahashi Shotei (1871–1945)
浅草观音堂
Temple of Kannon at Asakusa
1936
木版画 | 大短册纵绘 | 38cm x 17.3cm
Woodblock-print | Nagaban Tate-e | 38cm x 17.3cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition.
$3,200
你知道什么是木鼻吗？
如果对日本传统建筑稍有了解，你一定也对那些位于大立柱上方突出部分，雕刻得颇为精美的狮子或貘形木雕不陌生，而它们正是木鼻。在镰仓时代，木鼻的造型还承袭唐风，线条颇为简洁；步入江户时代后，人们便开始在木鼻的装饰性上大做文章，无数华丽的龙、狮、貘、流云等形象攀缘而上，为无数神社寺院形成了一道道亮丽的风景线。
不同于一众以浅草观音堂为题材的画家，松亭在本作中的取景不可谓不奇绝。狭长的画幅中，最惹眼的反倒是上方堂檐下的斗拱与木鼻，只见青狮蓝狮毛涡丰盈，金睛圆睁，蓝貘白牙锐利，长鼻微曲，皆是一派威武神勇。顺着巨大的朱红方形檐柱下移视线，天外飘絮，满树琼花，鸟雀翻飞，始知晓一场瑞雪已来到。也不知那两把和伞后的主人是谁，或是在赏雪，还是在祈愿，无尽的遐想空间，就留以观者慢慢品鉴。
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.