Shotei | The Red Gate at Hongo in Clear Weather after Snow
高橋松亭 Takahashi Shotei (1871–1945)
雪晴 本乡赤门
The Red Gate at Hongo in Clear Weather after Snow
1926
木版画 | 横绘大大判 | 26m x 49cm
Woodblock-print | Large Yoko-e | 26m x 49cm
初摺;品相非常好;罕见
First Edition; great condition; rare
$5,600
江户时代的蓝,是北斋的滔天巨浪,广重的鸣门漩涡;
明治时代的蓝,是清亲的静谧夜色,国周的觥筹交错;
到了大正时代,蓝,又是以何种形式呈现呢?
时间回到1926年,那一年恰好是大正与昭和的交替之年,空气中弥散着的,尽是变革与融合的气息。吸一口雪晴后的清冷空气,再望向位于今东京都文京区本乡的东京大学赤门。一个世纪前的它虽已近百岁,但毫无陈旧之感,反倒历久弥新,在积雪的映衬下显得更为鲜艳庄严。门前,一位头戴斗笠的人力车夫仿佛来自江户,而前方两名西式呢子大衣打扮的学生一看就是生于明治年间的新一代,迈着自信的步子,浑身充满着新时代的活力。江户、明治、大正、昭和……时代的流变,尽在画中展现。
本作由蓝摺技法拓印而成,在弘明的创作生涯中极为殊罕,在新版画历史中亦屈指可数,可谓寥若晨星,至今仍为一众藏家向慕。
Interested in purchasing?
Please contact us.
高橋松亭 Takahashi Shotei (1871–1945)
雪晴 本乡赤门
The Red Gate at Hongo in Clear Weather after Snow
1926
木版画 | 横绘大大判 | 26m x 49cm
Woodblock-print | Large Yoko-e | 26m x 49cm
初摺;品相非常好;罕见
First Edition; great condition; rare
$5,600
江户时代的蓝,是北斋的滔天巨浪,广重的鸣门漩涡;
明治时代的蓝,是清亲的静谧夜色,国周的觥筹交错;
到了大正时代,蓝,又是以何种形式呈现呢?
时间回到1926年,那一年恰好是大正与昭和的交替之年,空气中弥散着的,尽是变革与融合的气息。吸一口雪晴后的清冷空气,再望向位于今东京都文京区本乡的东京大学赤门。一个世纪前的它虽已近百岁,但毫无陈旧之感,反倒历久弥新,在积雪的映衬下显得更为鲜艳庄严。门前,一位头戴斗笠的人力车夫仿佛来自江户,而前方两名西式呢子大衣打扮的学生一看就是生于明治年间的新一代,迈着自信的步子,浑身充满着新时代的活力。江户、明治、大正、昭和……时代的流变,尽在画中展现。
本作由蓝摺技法拓印而成,在弘明的创作生涯中极为殊罕,在新版画历史中亦屈指可数,可谓寥若晨星,至今仍为一众藏家向慕。
Interested in purchasing?
Please contact us.
高橋松亭 Takahashi Shotei (1871–1945)
雪晴 本乡赤门
The Red Gate at Hongo in Clear Weather after Snow
1926
木版画 | 横绘大大判 | 26m x 49cm
Woodblock-print | Large Yoko-e | 26m x 49cm
初摺;品相非常好;罕见
First Edition; great condition; rare
$5,600
江户时代的蓝,是北斋的滔天巨浪,广重的鸣门漩涡;
明治时代的蓝,是清亲的静谧夜色,国周的觥筹交错;
到了大正时代,蓝,又是以何种形式呈现呢?
时间回到1926年,那一年恰好是大正与昭和的交替之年,空气中弥散着的,尽是变革与融合的气息。吸一口雪晴后的清冷空气,再望向位于今东京都文京区本乡的东京大学赤门。一个世纪前的它虽已近百岁,但毫无陈旧之感,反倒历久弥新,在积雪的映衬下显得更为鲜艳庄严。门前,一位头戴斗笠的人力车夫仿佛来自江户,而前方两名西式呢子大衣打扮的学生一看就是生于明治年间的新一代,迈着自信的步子,浑身充满着新时代的活力。江户、明治、大正、昭和……时代的流变,尽在画中展现。
本作由蓝摺技法拓印而成,在弘明的创作生涯中极为殊罕,在新版画历史中亦屈指可数,可谓寥若晨星,至今仍为一众藏家向慕。
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.