Yoshida | Summit of Fuji, from the series of Ten Views of Fuji
吉田博 Hiroshi Yoshida (1876-1950)
富士拾景 山顶剑峰
Summit of Fuji, from the series of Ten Views of Fuji
1928
木版画 | 横绘大大判 | 27.5cm x 41cm
Woodblock-print | Large Oban Yoko-e | 27.5cm x 41cm
自摺；铅笔亲笔签名；品相近完美
Signed in brush and in pencil, with jizuri seal; fine condition
$2,800
《富士拾景》是吉田博于1926年至1928年创作的风景绘系列，共计10幅。全系列整体风格融合了西式写实主义，在极具表现力的同时延续着吉田博自摺作品一如既往的高水准，是其创作生涯的代表作之一。
剑峰，原意指火山口的边缘，后多特指富士山顶最高峰剑峰。这座海拔3776米的山峰不仅是富士“八神峰”中的最高者，亦是日本全国海拔的最高点。若是想要真正到达剑峰，就必须从登山道登顶后再走上一段路程。千丈悬崖，满川云雾，一半实一半虚。画中这条临近峭壁且并无围栏的山道单是看着就颇具危险性，使观者不由得捏一把汗。前景中的几位背负着大包小包行囊的登山者明显是有些体力不支，正席地而坐稍作休整。一旁的两位同伴似乎是刚刚站起身，准备继续踏上征程。远景曲折蜿蜒处，多名登山人在五色山岩中持杖穿行，只为了最远处高耸剑锋的无限风光。细细观之，富岳山体的细腻色彩流变甚至与张大千的泼墨泼彩有着异曲同工之妙。名家妙手的胸中丘壑，此刻何其相似乃尔。
If you’ve ever seen the perfect-yet-imperfect cone of Mt. Fuji from a speeding Shinkansen, you know the otherworldly pull it has. It somehow exudes calm over the madness of the modern world.
The mountain is a staple of Ukiyoe – featured in several of the most famous Japanese woodblock prints. Some artists, like Hiroshige and Hokusai, let us see it from all kinds of vantage points, some real, some imagined. But in this print, Hiroshi Yoshida gives us a view that is so close-up we might not recognize it. We are at the summit of the mountain itself.
Yoshida in his career gave us many designs featuring the joys of hiking. Since Edo times, hiking to the summit of Fuji was a goal of many a pilgrim. Still is, although today buses take you most of the way up. Once you reach the top, the seemingly smooth and serene shape of the peak is actually craggy and rough. But oh, the view!
This comes from a series of 10 views of Fuji produced by Yoshida between 1926 and 1928. Unlike Ukiyoe series, prints in this series vary in size and format. Two are large obaiban size and two are vertical designs.
Interested in purchasing?
Please contact us.
吉田博 Hiroshi Yoshida (1876-1950)
富士拾景 山顶剑峰
Summit of Fuji, from the series of Ten Views of Fuji
1928
木版画 | 横绘大大判 | 27.5cm x 41cm
Woodblock-print | Large Oban Yoko-e | 27.5cm x 41cm
自摺；铅笔亲笔签名；品相近完美
Signed in brush and in pencil, with jizuri seal; fine condition
$2,800
《富士拾景》是吉田博于1926年至1928年创作的风景绘系列，共计10幅。全系列整体风格融合了西式写实主义，在极具表现力的同时延续着吉田博自摺作品一如既往的高水准，是其创作生涯的代表作之一。
剑峰，原意指火山口的边缘，后多特指富士山顶最高峰剑峰。这座海拔3776米的山峰不仅是富士“八神峰”中的最高者，亦是日本全国海拔的最高点。若是想要真正到达剑峰，就必须从登山道登顶后再走上一段路程。千丈悬崖，满川云雾，一半实一半虚。画中这条临近峭壁且并无围栏的山道单是看着就颇具危险性，使观者不由得捏一把汗。前景中的几位背负着大包小包行囊的登山者明显是有些体力不支，正席地而坐稍作休整。一旁的两位同伴似乎是刚刚站起身，准备继续踏上征程。远景曲折蜿蜒处，多名登山人在五色山岩中持杖穿行，只为了最远处高耸剑锋的无限风光。细细观之，富岳山体的细腻色彩流变甚至与张大千的泼墨泼彩有着异曲同工之妙。名家妙手的胸中丘壑，此刻何其相似乃尔。
If you’ve ever seen the perfect-yet-imperfect cone of Mt. Fuji from a speeding Shinkansen, you know the otherworldly pull it has. It somehow exudes calm over the madness of the modern world.
The mountain is a staple of Ukiyoe – featured in several of the most famous Japanese woodblock prints. Some artists, like Hiroshige and Hokusai, let us see it from all kinds of vantage points, some real, some imagined. But in this print, Hiroshi Yoshida gives us a view that is so close-up we might not recognize it. We are at the summit of the mountain itself.
Yoshida in his career gave us many designs featuring the joys of hiking. Since Edo times, hiking to the summit of Fuji was a goal of many a pilgrim. Still is, although today buses take you most of the way up. Once you reach the top, the seemingly smooth and serene shape of the peak is actually craggy and rough. But oh, the view!
This comes from a series of 10 views of Fuji produced by Yoshida between 1926 and 1928. Unlike Ukiyoe series, prints in this series vary in size and format. Two are large obaiban size and two are vertical designs.
Interested in purchasing?
Please contact us.
吉田博 Hiroshi Yoshida (1876-1950)
富士拾景 山顶剑峰
Summit of Fuji, from the series of Ten Views of Fuji
1928
木版画 | 横绘大大判 | 27.5cm x 41cm
Woodblock-print | Large Oban Yoko-e | 27.5cm x 41cm
自摺；铅笔亲笔签名；品相近完美
Signed in brush and in pencil, with jizuri seal; fine condition
$2,800
《富士拾景》是吉田博于1926年至1928年创作的风景绘系列，共计10幅。全系列整体风格融合了西式写实主义，在极具表现力的同时延续着吉田博自摺作品一如既往的高水准，是其创作生涯的代表作之一。
剑峰，原意指火山口的边缘，后多特指富士山顶最高峰剑峰。这座海拔3776米的山峰不仅是富士“八神峰”中的最高者，亦是日本全国海拔的最高点。若是想要真正到达剑峰，就必须从登山道登顶后再走上一段路程。千丈悬崖，满川云雾，一半实一半虚。画中这条临近峭壁且并无围栏的山道单是看着就颇具危险性，使观者不由得捏一把汗。前景中的几位背负着大包小包行囊的登山者明显是有些体力不支，正席地而坐稍作休整。一旁的两位同伴似乎是刚刚站起身，准备继续踏上征程。远景曲折蜿蜒处，多名登山人在五色山岩中持杖穿行，只为了最远处高耸剑锋的无限风光。细细观之，富岳山体的细腻色彩流变甚至与张大千的泼墨泼彩有着异曲同工之妙。名家妙手的胸中丘壑，此刻何其相似乃尔。
If you’ve ever seen the perfect-yet-imperfect cone of Mt. Fuji from a speeding Shinkansen, you know the otherworldly pull it has. It somehow exudes calm over the madness of the modern world.
The mountain is a staple of Ukiyoe – featured in several of the most famous Japanese woodblock prints. Some artists, like Hiroshige and Hokusai, let us see it from all kinds of vantage points, some real, some imagined. But in this print, Hiroshi Yoshida gives us a view that is so close-up we might not recognize it. We are at the summit of the mountain itself.
Yoshida in his career gave us many designs featuring the joys of hiking. Since Edo times, hiking to the summit of Fuji was a goal of many a pilgrim. Still is, although today buses take you most of the way up. Once you reach the top, the seemingly smooth and serene shape of the peak is actually craggy and rough. But oh, the view!
This comes from a series of 10 views of Fuji produced by Yoshida between 1926 and 1928. Unlike Ukiyoe series, prints in this series vary in size and format. Two are large obaiban size and two are vertical designs.
Interested in purchasing?
Please contact us.
Hiroshi Yoshida (1876-1950)
Hiroshi Yoshida is perhaps the second best known Shin Hanga artist, after Hasui. Trained as a painter from a young age, he showed his work at the Detroit Museum of Art in 1899, making him among the first Japanese artists to gain a reputation in the United States. Eventually, like so many of his contemporaries, he worked for Watanabe Shozaburo producing landscape prints. While many were set in Japan, he traveled extensively and produced several wonderful designs of American subjects, such as New York skyscrapers, the Pittsburgh waterfront and national parks, and European subjects, such as Lake Como in Italy. His prints always had a distinctly painterly feel, as if they’d fallen off a watercolor brush.