Hiroshige II | Caverns of the Gold Mine on Sado Island, 100 Views of Famous Places in the Provinces
二代目歌川広重 Utagawa Hiroshige II (active 1826–1869)
诸国名所百景 佐渡 金山
Caverns of the Gold Mine on Sado Island, from the series One Hundred Views of Famous Places in the Provinces
1859
木版画 | 纵绘大判 | 36.5cm x 25cm
Woodblock-print | Oban tate-e | 36.5cm x 25cm
非常早期的版次带有漂亮的木纹；边缘经轻微修剪；品相非常好
Early delux impression with beautiful wood grain; slight trimming to the margins; great condition.
SOLD
《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。
佐渡金山，又称佐渡金银山，是位于今新潟县西部佐渡岛的金、银矿山的总称，据传是由三位山师（山中探矿人）于1601年开发。在此后的两百余年中，它都为江户幕府的小判铸造提供着重要的金银资源；步入明治后，经过一系列机械化改造的它更是发展为日本最大的金银矿山。1989年3月，由于资源的枯竭，佐渡金山终于结束了长达近400年的开采历史，宣布停业。
若你身处江户时代，能在佐渡金山找到一份挖矿的差事，那还真会让你欢喜让你忧：相当可观的薪水固然令人艳羡，但颇高的工作强度与恶劣的工作环境也让许多人望而却步。正如本作所示，黑暗逼仄的矿道内，矿工们举着小油灯，穿梭于狭窄的木梯与嶙峋的岩孔，在开凿矿石的间隙轮流用餐。地下洞穴的幽深之感，被点点火光烘托得格外强烈，观者的呼吸，也似乎都因封闭的地下空间而逐渐变得急促沉重。充满着魅力的金银之辉，即诞生这于茫茫的晦暗深邃。
Interested in purchasing?
Please contact us.
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.