Hiroshige II | True View of the Whirlpools of Awa, 100 views Famous Views in the Provinces
二代目歌川広重 Utagawa Hiroshige II (active 1826–1869)
诸国名所百景 阿波鸣户
True View of the Whirlpools of Awa, from the series of One Hundred Famous Views in the Provinces
1859
木版画 | 纵绘大判 | 36.5cm x 25cm
Woodblock-print | Oban tate-e | 36.5cm x 25cm
早期版次；颜色鲜艳；边缘完整，左边边缘处有一处脏渍；背面有胶纸痕迹
Very clean impression with rich color; full margins with slight soiling; tape residue verso
$2,600.00
《诸国名所百景》，是二代歌川广重于1859至1861年创作的竖版名所绘系列，其出版商为出版过初代歌川广重《名所江户百景》的鱼屋荣吉。全系列据传共85幅（一说90幅），但目前得到确认的只有81幅。1858年10月，初代广重去世，二代广重正式继承了老师的衣钵，继续踏上了名所绘的征程。传承师风又不落窠臼的《诸国名所百景》，即成为他创作生涯中的一大高光之作。阿波，即阿波国，日本古代南海道令制国之一，旧国域位于今德岛县；鸣户，即鸣门，指位于德岛县鸣门市的鸣门海峡。此处地形复杂，水位落差大，故在每日潮汐时常因潮速差生成巨大的漩涡，最大直径甚至可达20米，堪称自然界规模最大的漩涡之一。由于漩涡的奇观，鸣门自古以来就是日本有名的观光胜地。1855年，广重将此地入画，以浪漫肆意的笔触，绘制出了《六十余州名所图会》系列中人气最高的杰作——《阿波鸣门之风波》；而在四年之后，二代广重也推出了一幅相同题材的作品，即本作。群山千壑映红霞，数片白帆远行。中景内的海面辽阔深广，只见有细鳞般的层层微波；殊不知越过礁石，近景海峡两岸急缓流汇聚处，数个硕大漩涡已然澎湃幻化。粗笔绀色画就的旋纹有若高古图腾，激转汹涌，冲击出如雪的水沫。海水撞击崖壁，发出砰然巨响，迅疾漫溢之势，引得行道上的挑夫农人们驻足远眺。纵然已领略过千百回，心中的浪花，还是会与涡潮共鸣应和。
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Utagawa Hiroshige II (active 1826-1869)
Born Chinpei Suzuki in 1826, Hiroshige II was given the name of Shigenobu after becoming one of Hiroshige’s very few students. In his career he hewed so closely to the master’s style, focusing on landscapes and the romantic interactions between human beings and the natural world, that it’s hard to determine whether he had a style of his own. He had a firm grasp of composition and color, yes, but the quality of his lines didn’t always match that of his teacher.
He took the name Hiroshige II after marrying Hiroshige’s 16-year-old daughter, Otatsu. He even completed his father-in-law’s final series – at least one, and possibly two, prints in “100 Famous Views of Edo” are attributed to Hiroshige II, done presumably after Hiroshige’s death in 1858.
But Hiroshige II produced some memorable works of his own, especially in the magnificent, “100 Famous Views of the Provinces” which he designed between 1859 and 1862. This includes “Kintai Bridge at Iwakuni in Suo Province,” which shows this legendary bridge of stone spans slashing across the paper on a left-to-right downward diagonal, a mirror of Hiroshige’s famed “Squall at Ohashi.”
During the time this series was produced, woodblock printing technology reached its zenith, and the printing quality of some of his prints is extraordinary. The “Deluxe” editions of these include wonderfully elaborate cartouches.
In the 1860s Hiroshige II was extremely prolific, including contributing to the “Processional Tokaido” with practically every other major Ukiyo-e artist of the day. Other series of varying quality focused on Edo and its environs. He was, like his teacher, especially adept at rain and snow scenes – some of his rain views, such as in “Eight Views of the Sumida River” in 1861, give a sense of a sudden downpour that is perhaps even more palpable than those of Hiroshige’s.
As this was just at the time of the “opening” of Japan, many of these prints are notable for the glimpses of western culture they provide, including ominous “Black Ships” riding at anchor, and Western men with giant noses, bushy eyebrows and ridiculous mustaches and beards, which the Japanese of the time must have found fascinating – amusing? – indeed.
Alas, things didn’t work out too well for our friend Hiroshige II. He and Otatsu divorced and he fell into alcoholism. He was last known to earn a meagre sum by decorating lanterns, kites and tea chests.
As for Otatsu, well, she married another painter and student of her late father’s named Goto Torakichi, who became Hiroshige III.
One woman, two Hiroshiges. Honestly, I’d like to know more about her – she sounds like a real number.