Eisen | Figure in the Current Times
溪齋英泉 Keisai Eisen（1790-1848）
今世姿
Figure in the Current Times
Ca. 1823-33
木版画 | 横绘大判 | 26cm x 38cm
Woodblock-print | Oban-yoke-e | 26cm x 38cm
早期版本和版次；颜色鲜艳；整体品相完好，画面有轻微脏痕；背面有非常轻薄的托底
Fine edition, impression and color; soiling; slight backing
$3,000
又是一场瓢泼大雨，世间仿佛浸没水中。英泉用其独特的象征手法，将雨点以莳绘平目粉的状态绘出，同时将湿润的氛围具象化为深蓝色的波状蜡滴纹，华丽又浪漫，使人难以忘怀。在雨中，这位双手撑开和伞，正侧身在伞下避雨的姑娘一如英泉笔下的经典美人形象，狭面青丝吊梢眼，颇为丰满的充满肉欲的下唇，露出的半截白皙上臂，皆散发着一种别样的时代气息，最能体现江户后期那种略带苦涩颓废，却又情感充沛的时代审美。
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Please contact us.
溪齋英泉 Keisai Eisen（1790-1848）
今世姿
Figure in the Current Times
Ca. 1823-33
木版画 | 横绘大判 | 26cm x 38cm
Woodblock-print | Oban-yoke-e | 26cm x 38cm
早期版本和版次；颜色鲜艳；整体品相完好，画面有轻微脏痕；背面有非常轻薄的托底
Fine edition, impression and color; soiling; slight backing
$3,000
又是一场瓢泼大雨，世间仿佛浸没水中。英泉用其独特的象征手法，将雨点以莳绘平目粉的状态绘出，同时将湿润的氛围具象化为深蓝色的波状蜡滴纹，华丽又浪漫，使人难以忘怀。在雨中，这位双手撑开和伞，正侧身在伞下避雨的姑娘一如英泉笔下的经典美人形象，狭面青丝吊梢眼，颇为丰满的充满肉欲的下唇，露出的半截白皙上臂，皆散发着一种别样的时代气息，最能体现江户后期那种略带苦涩颓废，却又情感充沛的时代审美。
Interested in purchasing?
Please contact us.
溪齋英泉 Keisai Eisen（1790-1848）
今世姿
Figure in the Current Times
Ca. 1823-33
木版画 | 横绘大判 | 26cm x 38cm
Woodblock-print | Oban-yoke-e | 26cm x 38cm
早期版本和版次；颜色鲜艳；整体品相完好，画面有轻微脏痕；背面有非常轻薄的托底
Fine edition, impression and color; soiling; slight backing
$3,000
又是一场瓢泼大雨，世间仿佛浸没水中。英泉用其独特的象征手法，将雨点以莳绘平目粉的状态绘出，同时将湿润的氛围具象化为深蓝色的波状蜡滴纹，华丽又浪漫，使人难以忘怀。在雨中，这位双手撑开和伞，正侧身在伞下避雨的姑娘一如英泉笔下的经典美人形象，狭面青丝吊梢眼，颇为丰满的充满肉欲的下唇，露出的半截白皙上臂，皆散发着一种别样的时代气息，最能体现江户后期那种略带苦涩颓废，却又情感充沛的时代审美。
Interested in purchasing?
Please contact us.
Keisai Eisen (1790–1848)
Keisai Eisen was born in Edo into the Ikeda family, the son of a noted calligrapher. He was apprenticed to Kanō Hakkeisai, from whom he took the name Keisai, and after the death of his father he studied under Kikugawa Eizan. His initial works reflected the influence of his mentor, but he soon developed his own style.
He produced a number of surimono (prints that were privately issued), erotic prints, and landscapes, including The Sixty-nine Stations of the Kiso Kaidō, which he started and which was completed by Hiroshige. Eisen is most renowned for his bijin-ga (pictures of beautiful women) which portrayed the subjects as more worldly than those depicted by earlier artists, replacing their grace and elegance with a less studied sensuality. He produced many portraits and full-length studies depicting the fashions of the time.