Chikanobu | Beauties with Western Hairstyles Series
楊洲周延 Toyohara Chikanobu (1838–1912)
束发美人竞
Beauties with Western Hairstyles Series
1887
木版画 | 三联续绘-纵绘大判 | 37.3cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 37.3cm x 25cm x 3
品相非常好
Very good condition
$2,800
“我有嘉宾，鼓瑟吹笙。”1883年7月，一座二层文艺复兴式建筑落成于今东京千代田区内幸町，由此开启了一个以其命名的短暂而辉煌的时代——“鹿鸣馆时代”。鹿鸣馆，得名于《诗经·小雅·鹿鸣》中“呦呦鹿鸣，食野之苹；我有嘉宾，鼓瑟吹笙。”一句，以取其迎宾会客之意。在不过四载的鹿鸣馆时代，这座会馆也确实成为了日本近代欧化主义的象征物：馆内时常可见的是高鼻深目，长裙拖地的欧美贵妇，耳边响彻的则是陌生悠扬，余音绕梁的西洋乐曲；在宴会厅的餐桌上，高档餐具，美酒佳肴成为标配，而在开阔的舞池中，佩羽饰，束细腰的日本姑娘们正踏着并不熟练的斯拉夫舞步。看似永不停歇的朝朝欢声，夜夜笙歌，最终在1887年9月，随着外务大臣井上馨的辞任落下帷幕，鹿鸣馆时代，也即宣告终结。鹿鸣馆时代的草草结束，宣告着“鹿鸣馆外交”的失败。但由其掀起的西化风潮却在民间久久不息。洋装不再成为上流社会的专属，而是逐渐走进了千家万户；无数爱美的日本姑娘，也纷纷开始尝试起西式发型。1885年成立的“妇人束发会”，更是起到了一个强有力的助推作用，使得西式束发成为了美观与洁净的代名词，各种新发型一时间层出不穷。“英吉利结”“和崎结”“渡边卷”“夜会结”......这些在本作中出现的名称就是鹿鸣馆时代流行的束发造型。女子们总是追逐着潮流又引领潮流，通过上方的发型特写与文字描述，可以看到许多发型甚至还发展出了变体；在画面下部，四位贵妇与两名少女衣香鬓影。若不看那典型的周延式美人样貌，还真是像极了欧洲贵族家庭的夫人小姐。一个时代的刹那芳华，尽现于周延的画作之中。
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Toyohara Chikanobu (1838–1912)
Toyohara Chikanobu was born in 1838 in Edo and, obviously possessing talent, studied the Kanō school of painting. But his love was Ukiyoe. He studied with Kuniyoshi and, upon the master’s death, with Kunichika.
A samurai like his father, Chikanobu fought on the side of the Shogan against the Emperor Meiji as Japan moved unsteadily towards modernity, and was arrested when the Emperor’s forces triumphed. But by the 1880s he was free to pursue his art.
His work ranged from Japanese mythology to battles to women's fashions. A great many were triptychs, and some were quite garish in their choice of colors, as was the style in the waning days of Ukiyoe. His designs illustrating women’s fashion were especially interesting because they depicted the radical shift from traditional to Western clothing during the Meiji restoration and the changes in coiffures and make-up styles that accompanied them. When he drew women in traditional dress, it was a nod to the recent past, with a healthy dose of nostalgia. He died in 1912.