Kuniyoshi | Tamatori-hime at the Dragon Palace
歌川国芳 Utagawa Kuniyoshi (1798–1861)
竜宮玉取姫之图
Tamatori-hime at the Dragon Palace
1853
木版画 | 三联续绘-纵绘大判 | 36.5cm x 26cm x 3
Woodblock-print | Triptych-Oban-tate-e | 36.5cm x 26cm x 3
早期版本和版次，带清晰的木纹；颜色鲜艳；整体品相非常好；中间联有轻微中间折痕和轻微托底
Early edition and impression with beautiful woodgrains; great colour; slight centrefold and very slight backing on the middle sheet; otherwise fine condition
PRICE ON REQUEST
时间回溯至近一千四百年前——
彼时的中国正值唐高宗李治（628-683）在位的盛唐时期，日本也已完成大化改新，两国皆是一派欣欣向荣。为表达对亡父藤原镰足（614-669）的追思，远嫁大唐的白光公主欲将高宗赐予的“面向不背之玉”及一众宝物通过货船送往其兄长藤原不比等（659-720）处。然而，货船却在快要抵达志度浦时遭遇风暴，所载宝物也被海中的龙神尽数侵吞。
为取回独一无二的“面向不背之玉”，藤原不比等隐姓埋名来到志度浦，不久便与当地的一名海女坠入爱河，并育有一子藤原房前（681-737）。但幸福的日子只维持了几年，这一天，不比等坦白了自己的真实意图，请海女去龙宫取回宝玉。海女以让房前成为藤原家继承人的请求为交换，答应了不比等，随后即只身勇闯龙宫，最终以生命为代价取回了宝玉。
本作即是以上述故事为蓝本创作。三联画面中，惊涛骇浪，波涛汹涌，狞恶的龙神从龙宫深处飞也似游出，现出凶暴的本相：一张血盆大口尖牙密，四只三趾锐爪寒光闪。在其周围簇拥的一众水族精兵也是个个披坚执锐，怪异非常，顺着瀑流般的潮水涌向上身赤裸，仅持一柄钢刀的海女。此时的海女腰胯虽已被一只巨大章鱼的触腕所紧搂，却依然毫无惧色，左手稳抓宝玉，右手高高举起尖刀预备反击。最令人感动的是，在面对着数量与实力都强于自己百十倍的对手时，她的脸上浮现的那一抹笑意。勇气，正是人类最伟大的赞歌。
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Utagawa Kuniyoshi (1798–1861)
Warriors, ghosts, crabs and cats.
The woodblock print designs of Utagawa Kuniyoshi, one of Ukiyo-e’s most vibrant and creative 19th Century masters, encompass more than that – he depicted landscapes and beautiful women, too – but those are the first genres that come to mind when contemplating this wonderful and eccentric genius and his sprawling, timeless body of work.
From an early age, the young Kuniyoshi was fascinated by drama and history – with a big helping of the supernatural. He loved nature and animals, too – especially cats: again and again they pop up in designs throughout his career (adding a premium to the prices those woodblock prints fetch today). Starting out as a relatively traditional student of the Utagawa school, he soon developed his hugely energetic style, full of dynamic action, and eventually passed it on to his many students – Yoshitoshi being the most famous. Along with Kunisada and Hiroshige, he was among the most prolific of all Ukiyo-e artists.
He was born Yoshisaburō on January 1, 1798 to a silk dyer. Some say his father’s rich patterns influenced his bold, colorful designs. He always loved legends and history. By age 12 he had shown a talent for drawing and become a student of the great Toyokuni, who gave him the name Kuniyoshi. He also studied the Tosa, Kano and Maruyama painting styles.
It took awhile for him to find his place in the thriving Ukiyo-e world. Then in the 1820s he produced his first epic warrior triptychs, and his career success was assured. He often gave legendary heroes fanciful and intricate tattoos of his own design, starting a style craze in Edo.
He eventually expanded genres to include animal studies and landscapes. His wonderful oban yoko-e series of “Famous Views of the Eastern Capital” is especially interesting for its use of Western motifs, such as shadows, billowing clouds and a low vantage point to create atmospheric perspective. While these efforts weren’t always entirely successful, they still resulted in wonderfully lively Ukiyo-e designs.
In all, he produced nearly 250 series for 150 publishers.
During the Tempo reforms of the 1840s, which dramatically censured woodblock prints, he boldly skirted rules barring depictions of actors by putting their faces on various animals, such as turtles.
He died at the age of 63 in April 1861 in his home in Genyadana.
Partial citation: Marks, Andreas, Japanese Woodblock Prints, Artists, Publishers and Masterworks: 1680-1900 (Tuttle; 2010)