Toyokuni I | Water Sign of Muddy Water

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歌川豐国 Utagawa Toyokuni I(1769-1825)

美人见立五行 见异思迁之水性
Water Sign of Muddy Water

1818-1825

木版画 | 纵绘大判 | 38cm x 25.5cm
Woodblock-print | Oban-tate-e | 38cm x 25.5cm

早期版次;颜色鲜艳;整体品相完好;背面有些许脏渍
Fine impression, color; some dirt verso; otherwise good condition

$3,800

《美人见立五行》,是歌川丰国于文政(1818-1831)初期创作的一套以美人为主题的五枚揃物。其内的五位美人各自代表了阴阳五行中的一种元素,以最为直观的方式,表现着江户时期风靡日本的,将人的命数分为五行从而判断吉凶、相性等的风俗信仰。因发行量小,而今存世量亦颇为稀少。

正值盛夏,水无月(阴历六月)的热浪席卷而来。吉原游廓某家游女屋的二楼上,一位美艳的花魁口衔牙签,撸起长袖,正撑着两条白胳膊向楼下张望。从微蹙的眉头来判断,她或许是看上了某位新露面的客人,抑或眼见得与自己相好的主顾投进了别个姐妹的怀抱。流水易变,杨花轻浮,丰国用这幅简单的夏日情迷即景,为后世的观者带来了无尽的遐想空间。

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歌川豐国 Utagawa Toyokuni I(1769-1825)

美人见立五行 见异思迁之水性
Water Sign of Muddy Water

1818-1825

木版画 | 纵绘大判 | 38cm x 25.5cm
Woodblock-print | Oban-tate-e | 38cm x 25.5cm

早期版次;颜色鲜艳;整体品相完好;背面有些许脏渍
Fine impression, color; some dirt verso; otherwise good condition

$3,800

《美人见立五行》,是歌川丰国于文政(1818-1831)初期创作的一套以美人为主题的五枚揃物。其内的五位美人各自代表了阴阳五行中的一种元素,以最为直观的方式,表现着江户时期风靡日本的,将人的命数分为五行从而判断吉凶、相性等的风俗信仰。因发行量小,而今存世量亦颇为稀少。

正值盛夏,水无月(阴历六月)的热浪席卷而来。吉原游廓某家游女屋的二楼上,一位美艳的花魁口衔牙签,撸起长袖,正撑着两条白胳膊向楼下张望。从微蹙的眉头来判断,她或许是看上了某位新露面的客人,抑或眼见得与自己相好的主顾投进了别个姐妹的怀抱。流水易变,杨花轻浮,丰国用这幅简单的夏日情迷即景,为后世的观者带来了无尽的遐想空间。

Interested in purchasing?
Please contact us.

歌川豐国 Utagawa Toyokuni I(1769-1825)

美人见立五行 见异思迁之水性
Water Sign of Muddy Water

1818-1825

木版画 | 纵绘大判 | 38cm x 25.5cm
Woodblock-print | Oban-tate-e | 38cm x 25.5cm

早期版次;颜色鲜艳;整体品相完好;背面有些许脏渍
Fine impression, color; some dirt verso; otherwise good condition

$3,800

《美人见立五行》,是歌川丰国于文政(1818-1831)初期创作的一套以美人为主题的五枚揃物。其内的五位美人各自代表了阴阳五行中的一种元素,以最为直观的方式,表现着江户时期风靡日本的,将人的命数分为五行从而判断吉凶、相性等的风俗信仰。因发行量小,而今存世量亦颇为稀少。

正值盛夏,水无月(阴历六月)的热浪席卷而来。吉原游廓某家游女屋的二楼上,一位美艳的花魁口衔牙签,撸起长袖,正撑着两条白胳膊向楼下张望。从微蹙的眉头来判断,她或许是看上了某位新露面的客人,抑或眼见得与自己相好的主顾投进了别个姐妹的怀抱。流水易变,杨花轻浮,丰国用这幅简单的夏日情迷即景,为后世的观者带来了无尽的遐想空间。

Interested in purchasing?
Please contact us.

Utagawa Toyokuni I(1769-1825)

The son of a dollmaker in Edo’s shiba district, Toyokuni was the first in a truly remarkable Ukiyoe lineage, with his designs and those of his students dominating the Utagawa school — and thus, the market for Japanese woodblock prints — for decades. His long list of students would eventually include Kunisada and Kuniyoshi.

His first works, as with so many artists in Japan, were illustrations in books, but he quickly demonstrated mastery of the bijin, or beautiful woman, print.

The leaders in this field were Utamaro and Kiyonaga, but soon after Toyokuni’s first bijin prints appeared in the 1790s, he’d developed his own style. Hollis Goodall, in Living for the Moment: Japanese Prints from the Barbara S. Bowman Collection, writes “he explored a less exaggerated figure length than those of Utamaro’s beauties, still longer and more robust than those of Kiyonaga, but showing greater angularity in pose and outline.”

In the end, Toyokuni produced 90 series and many hundreds more single-sheet designs. In his 30-year career he worked for more than 100 publishers, and also produced several paintings. His works live on, but perhaps even more so do the works of those he taught and encouraged.