Nobukazu | Fireworks viewing on the boat in the Sumida River
楊齋延一 Yosai Nobukazu (1872–1944)
两国花火之三曲
Fireworks viewing on the boat in the Sumida River
1892
木版画 | 三联续绘-纵绘大判 | 36cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 36cm x 25cm x 3
品相非常好
Very good condition
$1,200
两国桥花火大会，向来是浮世绘中的一大经典题材。数百年间的众多浮世绘画家都曾以此为题，泼洒洋溢着各自眼中的夏日绚烂。
本作作者杨斋延一师从著名画家杨洲周延，是一位良好继承了完整江户浮世绘技艺的明治期画师。画面中美人们的开脸明显是沿袭了周延的经典画风，优雅从容，娇美温婉，尤其是眼眉间浮现的一抹红晕，颇具周延的大首美人图之意。
对比江户时期的画作，明治期的两国桥两岸明显更加繁荣：水茶屋檐下璀璨的排排红灯笼，似乎在与天际中绽放的垂柳形花火争艳；画面最右边剪影般的几根烟囱，是近代工业化进程的象征物。屋形船内，拨弦弄笛；隅田川上，心旷神怡。在延一精妙的构图中，明黄的满月仿佛变作了船头美人的玩物，正如皮球一般，被团扇抛向空中；月旁微露的弧形拓印，又恰似漫画中受力的速度线，动态十足。舒爽的夏夜，也因此增添了几分意外之趣。
Yosai Nobukazu was a student of Chikanobu whose best-known works are prints of the Sino-Japanese and Russo-Japanese Wars, especially the savage battles at sea. He was born in 1872 and would live nearly halfway into the 20th Century before dying in 1944, just as World War II neared its horrific end for Japan.
But this triptych could not be any different than those violent scenes. Printed in 1892, nearly 30 years into the Meiji-era, it depicts several colorfully dressed beauties and a young girl on a yakatabune, a pleasure boat of the kind we’ve seen in quite a few other prints, including those by Chikanobu and Hiroshige.
These low-slung craft with sliding paper screens allowed cooling sea breezes to bring relief at the height of summer. You can still go on a touristy one in Tokyo today. The idea was the same then as it is now: rent one, and head out on the Sumida River – as depicted here – while enjoying the scenery, sake, good food and beautiful music.
Japan was well on the way to westernization at the time this design was published, but this is somewhat of a nostalgic memory of Edo times.
But look closely and you can see two signs of modernity. To the left, at the foot of the Ryogoku Bridge’s span, next to a fire tower, you can see a single telephone pole. And to the right – way, way to the right – you can see in the hazy distance what appears to be a geometrically precise smokestack, a sign of Japan’s burgeoning new industry.
Interested in purchasing?
Please contact us.
楊齋延一 Yosai Nobukazu (1872–1944)
两国花火之三曲
Fireworks viewing on the boat in the Sumida River
1892
木版画 | 三联续绘-纵绘大判 | 36cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 36cm x 25cm x 3
品相非常好
Very good condition
$1,200
两国桥花火大会，向来是浮世绘中的一大经典题材。数百年间的众多浮世绘画家都曾以此为题，泼洒洋溢着各自眼中的夏日绚烂。
本作作者杨斋延一师从著名画家杨洲周延，是一位良好继承了完整江户浮世绘技艺的明治期画师。画面中美人们的开脸明显是沿袭了周延的经典画风，优雅从容，娇美温婉，尤其是眼眉间浮现的一抹红晕，颇具周延的大首美人图之意。
对比江户时期的画作，明治期的两国桥两岸明显更加繁荣：水茶屋檐下璀璨的排排红灯笼，似乎在与天际中绽放的垂柳形花火争艳；画面最右边剪影般的几根烟囱，是近代工业化进程的象征物。屋形船内，拨弦弄笛；隅田川上，心旷神怡。在延一精妙的构图中，明黄的满月仿佛变作了船头美人的玩物，正如皮球一般，被团扇抛向空中；月旁微露的弧形拓印，又恰似漫画中受力的速度线，动态十足。舒爽的夏夜，也因此增添了几分意外之趣。
Yosai Nobukazu was a student of Chikanobu whose best-known works are prints of the Sino-Japanese and Russo-Japanese Wars, especially the savage battles at sea. He was born in 1872 and would live nearly halfway into the 20th Century before dying in 1944, just as World War II neared its horrific end for Japan.
But this triptych could not be any different than those violent scenes. Printed in 1892, nearly 30 years into the Meiji-era, it depicts several colorfully dressed beauties and a young girl on a yakatabune, a pleasure boat of the kind we’ve seen in quite a few other prints, including those by Chikanobu and Hiroshige.
These low-slung craft with sliding paper screens allowed cooling sea breezes to bring relief at the height of summer. You can still go on a touristy one in Tokyo today. The idea was the same then as it is now: rent one, and head out on the Sumida River – as depicted here – while enjoying the scenery, sake, good food and beautiful music.
Japan was well on the way to westernization at the time this design was published, but this is somewhat of a nostalgic memory of Edo times.
But look closely and you can see two signs of modernity. To the left, at the foot of the Ryogoku Bridge’s span, next to a fire tower, you can see a single telephone pole. And to the right – way, way to the right – you can see in the hazy distance what appears to be a geometrically precise smokestack, a sign of Japan’s burgeoning new industry.
Interested in purchasing?
Please contact us.
楊齋延一 Yosai Nobukazu (1872–1944)
两国花火之三曲
Fireworks viewing on the boat in the Sumida River
1892
木版画 | 三联续绘-纵绘大判 | 36cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 36cm x 25cm x 3
品相非常好
Very good condition
$1,200
两国桥花火大会，向来是浮世绘中的一大经典题材。数百年间的众多浮世绘画家都曾以此为题，泼洒洋溢着各自眼中的夏日绚烂。
本作作者杨斋延一师从著名画家杨洲周延，是一位良好继承了完整江户浮世绘技艺的明治期画师。画面中美人们的开脸明显是沿袭了周延的经典画风，优雅从容，娇美温婉，尤其是眼眉间浮现的一抹红晕，颇具周延的大首美人图之意。
对比江户时期的画作，明治期的两国桥两岸明显更加繁荣：水茶屋檐下璀璨的排排红灯笼，似乎在与天际中绽放的垂柳形花火争艳；画面最右边剪影般的几根烟囱，是近代工业化进程的象征物。屋形船内，拨弦弄笛；隅田川上，心旷神怡。在延一精妙的构图中，明黄的满月仿佛变作了船头美人的玩物，正如皮球一般，被团扇抛向空中；月旁微露的弧形拓印，又恰似漫画中受力的速度线，动态十足。舒爽的夏夜，也因此增添了几分意外之趣。
Yosai Nobukazu was a student of Chikanobu whose best-known works are prints of the Sino-Japanese and Russo-Japanese Wars, especially the savage battles at sea. He was born in 1872 and would live nearly halfway into the 20th Century before dying in 1944, just as World War II neared its horrific end for Japan.
But this triptych could not be any different than those violent scenes. Printed in 1892, nearly 30 years into the Meiji-era, it depicts several colorfully dressed beauties and a young girl on a yakatabune, a pleasure boat of the kind we’ve seen in quite a few other prints, including those by Chikanobu and Hiroshige.
These low-slung craft with sliding paper screens allowed cooling sea breezes to bring relief at the height of summer. You can still go on a touristy one in Tokyo today. The idea was the same then as it is now: rent one, and head out on the Sumida River – as depicted here – while enjoying the scenery, sake, good food and beautiful music.
Japan was well on the way to westernization at the time this design was published, but this is somewhat of a nostalgic memory of Edo times.
But look closely and you can see two signs of modernity. To the left, at the foot of the Ryogoku Bridge’s span, next to a fire tower, you can see a single telephone pole. And to the right – way, way to the right – you can see in the hazy distance what appears to be a geometrically precise smokestack, a sign of Japan’s burgeoning new industry.
Interested in purchasing?
Please contact us.
Yosai Nobukazu (1872–1944)
Yosai Nobukazu had a front row seat to the changes that swept Meiji Japan at the end of the 19th Century, and he depicted them energetically so the world could marvel.
Born in 1872, just after the Meiji Restoration led to the end of the 250-year Shogunate, he is perhaps the best-known student of Yoshu Chikanobu. In his graceful and colorful – and highly romanticized -- triptychs of court ladies the master’s influence is quite evident.
But in those turbulent times, the subtle joys of a life in court were not the order of the day. Japan went to war, first with China and then with Russia, and the public hungered for images of furious battles on land and sea. Yosai was among those Ukiyoe artists who, finding their livelihoods threatened as woodblock prints lost favor, were happy to oblige. They turned their talents to propagandic and often fantastical war scenes.
But like so many Japanese woodblock print artists, he shouldn’t be pigeonholed. Yosai also produced numerous designs depicting the joys of life in Tokyo in that era, just as Western influences began to be commonplace. And he died in 1944, just before so much of his beloved Tokyo was destroyed by Allied bombings in World War II.