Yoshiiku | Collection of Fish
落合芳幾 Ochiai Yoshiiku (1833-1904)
志板 鱼满满
Collection of Fish
1881
木版画 | 纵绘大判 | 36.5cm x 25cm
Woodblock-print | Oban tata-e | 36.5cm x 25cm
品相完好
Fine condition
SOLD
“三天不吃鱼，骨头要散架。”
作为一个四面环海的岛国，日本自古便坐拥着极其丰富的渔业资源。至早在距今约一万年的绳文时代，日本原住民就已经开始捕捞并食用鱼、螺等海产品；室町时代，稻作文化逐步形成，沿海捕捞业水平得到进一步提升；随着生产力的不断进步和运输业的发展，自江户时代中期起，平民阶层也可以大量食用海产品。每天早上，日本桥周边的鱼市场都会聚集着无数商贩，售卖并处理着最新鲜的渔获。各种各样你见过的没见过的鱼贝虾蟹，就从这里“游”上了千家万户的餐桌。
本作题目前半部分的“志板”二字，其实即“新版”之意；后半部分的“鱼满满”一词，则是源自一出同名古典落语剧目。顾名思义，满满全是鱼的画面，也足够给人强大的视觉冲击：一吸气就鼓起肚子的河豚，肉质洁净的刺身上品鲷鱼，眼睛长在同侧的比目鱼，一对胸鳍似双翼的飞鱼，下颌延长如箭的针鱼，以及产自深海的绒毛鲨等等。除鱼类外，章鱼和乌贼扭动着触手，扇贝文蛤生蚝紧闭着双壳，龙虾与海蟹耀武扬威，一身钢甲，海胆与鲍鱼缩头缩脑，随波逐流……全画览罢，好似酣畅淋漓地逛了一趟鱼市场，看来今天的晚饭，非得是海鲜大餐不可了。
Interested in purchasing?
Please contact us.
落合芳幾 Ochiai Yoshiiku (1833-1904)
志板 鱼满满
Collection of Fish
1881
木版画 | 纵绘大判 | 36.5cm x 25cm
Woodblock-print | Oban tata-e | 36.5cm x 25cm
品相完好
Fine condition
SOLD
“三天不吃鱼，骨头要散架。”
作为一个四面环海的岛国，日本自古便坐拥着极其丰富的渔业资源。至早在距今约一万年的绳文时代，日本原住民就已经开始捕捞并食用鱼、螺等海产品；室町时代，稻作文化逐步形成，沿海捕捞业水平得到进一步提升；随着生产力的不断进步和运输业的发展，自江户时代中期起，平民阶层也可以大量食用海产品。每天早上，日本桥周边的鱼市场都会聚集着无数商贩，售卖并处理着最新鲜的渔获。各种各样你见过的没见过的鱼贝虾蟹，就从这里“游”上了千家万户的餐桌。
本作题目前半部分的“志板”二字，其实即“新版”之意；后半部分的“鱼满满”一词，则是源自一出同名古典落语剧目。顾名思义，满满全是鱼的画面，也足够给人强大的视觉冲击：一吸气就鼓起肚子的河豚，肉质洁净的刺身上品鲷鱼，眼睛长在同侧的比目鱼，一对胸鳍似双翼的飞鱼，下颌延长如箭的针鱼，以及产自深海的绒毛鲨等等。除鱼类外，章鱼和乌贼扭动着触手，扇贝文蛤生蚝紧闭着双壳，龙虾与海蟹耀武扬威，一身钢甲，海胆与鲍鱼缩头缩脑，随波逐流……全画览罢，好似酣畅淋漓地逛了一趟鱼市场，看来今天的晚饭，非得是海鲜大餐不可了。
Interested in purchasing?
Please contact us.
落合芳幾 Ochiai Yoshiiku (1833-1904)
志板 鱼满满
Collection of Fish
1881
木版画 | 纵绘大判 | 36.5cm x 25cm
Woodblock-print | Oban tata-e | 36.5cm x 25cm
品相完好
Fine condition
SOLD
“三天不吃鱼，骨头要散架。”
作为一个四面环海的岛国，日本自古便坐拥着极其丰富的渔业资源。至早在距今约一万年的绳文时代，日本原住民就已经开始捕捞并食用鱼、螺等海产品；室町时代，稻作文化逐步形成，沿海捕捞业水平得到进一步提升；随着生产力的不断进步和运输业的发展，自江户时代中期起，平民阶层也可以大量食用海产品。每天早上，日本桥周边的鱼市场都会聚集着无数商贩，售卖并处理着最新鲜的渔获。各种各样你见过的没见过的鱼贝虾蟹，就从这里“游”上了千家万户的餐桌。
本作题目前半部分的“志板”二字，其实即“新版”之意；后半部分的“鱼满满”一词，则是源自一出同名古典落语剧目。顾名思义，满满全是鱼的画面，也足够给人强大的视觉冲击：一吸气就鼓起肚子的河豚，肉质洁净的刺身上品鲷鱼，眼睛长在同侧的比目鱼，一对胸鳍似双翼的飞鱼，下颌延长如箭的针鱼，以及产自深海的绒毛鲨等等。除鱼类外，章鱼和乌贼扭动着触手，扇贝文蛤生蚝紧闭着双壳，龙虾与海蟹耀武扬威，一身钢甲，海胆与鲍鱼缩头缩脑，随波逐流……全画览罢，好似酣畅淋漓地逛了一趟鱼市场，看来今天的晚饭，非得是海鲜大餐不可了。
Interested in purchasing?
Please contact us.
Ochiai Yoshiiku (1883-1904)
A student of Kuniyoshi, a newspaper illustrator, and a master of satirical Ukiyoe, Ochiai Yoshiiku was literally born into the Floating World: his father ran a popular teahouse in Edo. It was only a few short years after his birth in 1833 that he joined Kuniyoshi’s studio in the 1840s. His first known works were backgrounds for the master’s designs.
Life looked promising indeed for the young artist. Not only was he now in the famed Utagawa School, but his first actor and beauty portraits gained note. His career as a satirist followed, especially after Kuniyoshi’s death, and he worked as the chief illustrator for Tokyo newspapers during the freewheeling early days of Japanese newspaper journalism.
But after his second newspaper folded, he returned to print making, and now success eluded him. But tragedy found him, again and again. Of 10 children, nine died. His prints were now out of step with modern society and failed to sell. His last design dates from 1903. He died in 1904.