Koryusai | Musashi, Chofu, The Six Jewel Rivers
Reserved
磯田湖龍齋 Isoda Koryusai (1735-1790)
武藏调布六玉川
Musashi, Chofu, The Six Jewel Rivers
1770-72
木版画｜纵绘中判｜26.5cm x 18.5cm
Woodblock-print｜ Chuban tate-e｜26.5cm x 18.5cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition
In Edo Japan, from one end of the nation to the other, were six so-called Jewel Rivers – six rivers all with the name Tamagawa. This was a perfect device for Ukiyoe designers, who could produce a small series showing each.
Indeed, Koryusai was among the first Japanese woodblock print artists to latch onto the idea of “serial” prints, that is, a group of prints with a connecting idea, such as “Twelve Months in the Pleasure Quarters.” So his version of “Six Jewel Rivers” from around 1770 to 1772 falls neatly into this grouping concept.
But unlike Hiroshige, who did several of his own “Six Jewel Rivers” series roughly 60 years later, Koryusai doesn’t try to depict any recognizable view here. In this print, the Chofu River in Musashi is just a series of stylized swirling lines suggesting a gentle current. It could be anywhere. The wonderfully rendered waves in one of the young lady’s kimonos suggest a far more energetic body of water than the one she stands besides.
But this isn’t a lanscape; it’s all about the women. The river serves as background for Koryusai’s elegant and simply drawn “bijin” – beautiful women – who have a clear debt to Suzuki Harunobu, with whom Koryusai had a relationship early in his career, and who had just died when this lovely print was published.
Interested in purchasing?
Please contact us.
Reserved
磯田湖龍齋 Isoda Koryusai (1735-1790)
武藏调布六玉川
Musashi, Chofu, The Six Jewel Rivers
1770-72
木版画｜纵绘中判｜26.5cm x 18.5cm
Woodblock-print｜ Chuban tate-e｜26.5cm x 18.5cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition
In Edo Japan, from one end of the nation to the other, were six so-called Jewel Rivers – six rivers all with the name Tamagawa. This was a perfect device for Ukiyoe designers, who could produce a small series showing each.
Indeed, Koryusai was among the first Japanese woodblock print artists to latch onto the idea of “serial” prints, that is, a group of prints with a connecting idea, such as “Twelve Months in the Pleasure Quarters.” So his version of “Six Jewel Rivers” from around 1770 to 1772 falls neatly into this grouping concept.
But unlike Hiroshige, who did several of his own “Six Jewel Rivers” series roughly 60 years later, Koryusai doesn’t try to depict any recognizable view here. In this print, the Chofu River in Musashi is just a series of stylized swirling lines suggesting a gentle current. It could be anywhere. The wonderfully rendered waves in one of the young lady’s kimonos suggest a far more energetic body of water than the one she stands besides.
But this isn’t a lanscape; it’s all about the women. The river serves as background for Koryusai’s elegant and simply drawn “bijin” – beautiful women – who have a clear debt to Suzuki Harunobu, with whom Koryusai had a relationship early in his career, and who had just died when this lovely print was published.
Interested in purchasing?
Please contact us.
Reserved
磯田湖龍齋 Isoda Koryusai (1735-1790)
武藏调布六玉川
Musashi, Chofu, The Six Jewel Rivers
1770-72
木版画｜纵绘中判｜26.5cm x 18.5cm
Woodblock-print｜ Chuban tate-e｜26.5cm x 18.5cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition
In Edo Japan, from one end of the nation to the other, were six so-called Jewel Rivers – six rivers all with the name Tamagawa. This was a perfect device for Ukiyoe designers, who could produce a small series showing each.
Indeed, Koryusai was among the first Japanese woodblock print artists to latch onto the idea of “serial” prints, that is, a group of prints with a connecting idea, such as “Twelve Months in the Pleasure Quarters.” So his version of “Six Jewel Rivers” from around 1770 to 1772 falls neatly into this grouping concept.
But unlike Hiroshige, who did several of his own “Six Jewel Rivers” series roughly 60 years later, Koryusai doesn’t try to depict any recognizable view here. In this print, the Chofu River in Musashi is just a series of stylized swirling lines suggesting a gentle current. It could be anywhere. The wonderfully rendered waves in one of the young lady’s kimonos suggest a far more energetic body of water than the one she stands besides.
But this isn’t a lanscape; it’s all about the women. The river serves as background for Koryusai’s elegant and simply drawn “bijin” – beautiful women – who have a clear debt to Suzuki Harunobu, with whom Koryusai had a relationship early in his career, and who had just died when this lovely print was published.