Kiyochika | Hotoke Gozen, Ancient Patterns
小林清亲 Kobayashi Kiyochika (1847–1915)
古代模样 佛
Hotoke Gozen, from the series of Ancient Patterns
1897
木版画 | 三联续绘-纵绘大判 | 37.5cm x 25.5cm x 3
Woodblock-print | Triptych-Oban-tate-e | 37.5cm x 25.5cm x 3
品相非常好
Very good condition
$1,200
《古代模样》，是小林清亲于1896年至1897年创作的大判人物三联画系列。全套共三幅，分别为1896年出版的《清少纳言》与《紫式部》，以及1897年出版的《佛》，即本作。画题中的“佛”并非指佛教中的佛陀，而是指登场于《平家物语》的白拍子舞女佛御前。而提到佛御前，就要先提到另一名女子——祇王（又称妓王）。这是一位能让平清盛神魂颠倒，以至于使他爱屋及乌，同意让自己的母亲与妹妹一同入住平家的传奇白拍子舞女。一日，佛御前来到平家，想要为平清盛表演歌舞，但遭到拒绝。不知出于何种原因，祇王却劝说平清盛同意佛御前的请求。一曲舞罢，平清盛便立刻移情别恋，并将祇王赶出府邸；之后，为了讨佛御前欢心，平清盛又将祇王招来为其表演歌舞。祇王深感侮辱，在表演后便带着母亲与妹妹出家。某夜，一位年轻女子突然到访祇王出家的寺院，正是佛御前。原来，佛御前从祇王的歌声中顿感浮华瞬息，于是毅然出家。祇王也抛开宿怨，从此四女一同遁入空门。秋草黄，寒风过。画面中，披着尼头巾的佛御前立于风中，面色沉静，眼神空灵。从头巾下的艳丽衣着来看，她应是刚刚逃离平家。目光若聚若散处，祇王、祇王妹祇女及祇王母亲皆一身比丘尼装束，姿态松弛，神情从容，面带微笑，似乎已等待佛御前多时。“今日之祇王，明日之吾身。”世间百代人事，或许就是如此。
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Kobayashi Kiyochika (1847–1915)
Perhaps no Japanese woodblock print artist bridged the styles of the Edo and Meiji eras as well as Kobayashi Kiyochika. While some of his notable designs, especially his bijin or “beautiful women” prints, harkened back to the classic days of Ukiyoe, his later work documented the rapid modernization and Westernization of Japan. Indeed, he experimented — at times more successfully than others — with depicting light and shade in the manner of Western art.
Apparently self-taught, Kiychika’s first known prints date from the 1870s and are rampent with signs of modernization — red brick buildings and trains proliferate. Then he took a step back, creating “100 Famous Views of Musashi,” a modern hommage to Hiroshige and the beauty of then-vanishing traditional Japan. After this he mysteriously disappeared from the scene before emerging to focus on dramatic war scenes and more views of fast-evolving Tokyo. Later, he worked as a newspaper illustrator. He died in 1915, having travelled through time.