Hiroshige | Ise futamigaura, 36 Views of Mt. Fuji
歌川広重 Utagawa Hiroshige (1797-1858)
富士三十六景 伊勢二見か浦
Ise futamigaura, from the series of Thirty-six Views of Mount Fuji
1858
木版画 | 纵绘大判 | 36cm x 25cm
Woodblock-print | Oban tate-e | 36cm x 25cm
早期的版次；品相非常好
Early impression; great condition
SOLD
提到“富士”与“三十六景”，大家首先想到的，应该都是北斋于1830-1832年间创作的那套横绘风景画《富岳三十六景》。毕竟，这是一套包含有《神奈川冲浪里》、《山下白雨》、《凯风快晴》等一众名品的神作。但大多数人并不了解的是，广重也曾创作过名为《富士三十六景》的风景画系列，并且还有两套：一套为1852年创作的中判横绘；另一套则为1858年创作的大判纵绘，即本作来源。二见浦，今三重县伊势市二见町的一处海岸，是著名的二见兴玉神社夫妇岩的所在地。所谓夫妇岩，顾名思义即是两块如夫妻一般相互依偎的天然岩石。因日本神道教自古就有对岩石的“磐座信仰”，所以此类形状奇特的岩石被人们视作神明，并且还会在其上缠围神道教的注连绳或建立小型的鸟居，以表明神域范围，祈求神明保佑。日本全国至少有数十处有名号的夫妇岩，但还要数二见浦的夫妇岩最为人熟知。此处夫妇岩中的“男岩”被称为立石，高约9米；“女岩”则名为根尻岩，高约4米。在广重的笔下，这两块不足十米的岩石却勾廓刚劲，墨迹杂沓，仿若蓬莱仙山。尤其是在本就无多少参照物的海中，更显得巍峨挺拔；再搭配上岩顶的小鸟居与悬挂的注连绳的比例关系，若只观岩体局部，一时间还真会让人产生遥望蜀道巉岩栈道的错觉。隔海远眺，远处的富岳反倒显得秀气小巧，毫无圣山的压迫感。只是不知道在海的那边，是否还可得见这对夫妇的身姿呢？
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Utagawa Hiroshige (1797-1858)
Ando Hiroshige (1897-1858) revolutionized the art of landscape prints during the Edo era, building on the success of his senior, Hokusai, but taking a more poetic and naturalist approach to portraying the beauty of Japan.
The son of a low-level Samurai assigned to the fire brigade in Edo, Hiroshige became a student of the Utagawa school as a young man. His first prints focused on beautiful women (bijin), and views of Edo. But in 1833 he began work on his most famous early work, his first series depicting the Tokaido, the "Great Sea Road" between Edo and Tokyo.
Today there is some controversy about this series. Initially, it was believed that Hiroshige had travelled the route along with a local lord (Daimyo) who was making a gift of horses to the Emperor. But more recent scholarship suggests Hiroshige never travelled the road himself, at least not the entire way, and made his designs using published guidebooks.
Nonetheless, the prints were wonderful and revolutionary. They embraced the seasons with a gentle lyricism missing from Hokusai's striking but stylized depictions. In Hiroshige's work, nature is sacred -- but it is always mixed with humanity, with travelers or little inns or bridges. There is a magical harmony between man and the elements.
His depiction of the seasons and weather is especially evocative. Snow blankets some views with a hushed silence, while rain streaks down furiously in others. In some prints natured is agitated; in others, calm prevails. Produced in a horizontal oban yoko-e format, the series was a smash hit.
The Tokaido series made Hiroshige famous, and he became incredible prolific. In the 1840s he produced many strong designs, but many mediocre ones, too, including several subsequent Tokaido series of varying quality.
In 1853, however, he made a big step. He turned his landscapes sideways, embracing a bold vertical oban tate-e format. This gave his designs new energy and a modern feel. The first of these was Famous Views of the Sixty-Odd Provinces. From them on, most of his most noted series were executed in this format.
He saved his greatest for his last. In 1856 he began work on 100 Famous Views of Edo, which many consider his most exceptional work. Here his home city was portrayed with energy and passion, and in these 119 designs he created an incredible record of a vanished place. In addition to the striking vertical format, he developed exciting new compositions, often juxtaposing a strong foreground element with a distant background.
Among the many famous images in this series are Squall at Ohashi and the Plum Garden in Komeido. Both of these were copied by Vincent Van Gogh, a great admirer of Hiroshige. Thus, the great Japanese artist had a profound effect on Western art.
Alas, his beloved Edo ended his life. Hiroshige was claimed by a cholera epidemic that swept the city in 1958. His pupil Shigenobu, who took the name Hiroshige II, completed The Famous Views of Edo.