歌川国芳 Utagawa Kuniyoshi (1798–1861)
通俗三国志之内 玄德三雪中孔明访图
Xuande [Liu Bei] Visits Kongming [Zhu Geliang] Three Times in the Snow, from the series Popular Romance of the Three Kingdoms
1853
木版画 | 三联续绘-纵绘大判 | 35.5cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 35.5cm x 25cm x 3
品相完好；边缘经轻微修剪；经托底
Fine condition; slight trimming; backing
$3,200
So much to unpack and enjoy in this triptych by Utagawa Kuniyoshi, but I’m making it my new featured print for one main reason – snow. It’s been a snowy winter in New York and Tokyo for sure, but spring will be here soon so let’s honor the departing season with this wonderful and fascinating print.
The Romance of the Three Kingdoms is a historical novel from 14th Century China that depicted the fall of the Han Dynasty and the political maneuverings, intrigues and military campaigns of that era. It is considered one of the great works of Chinese literature, featuring the legendary 108 outlaws of Liangshan and more than 800 characters spread over 100 chapters totalling more than 800,000 words. Mixing truth and fiction, it follows the adventures of several revolutionaries, especially the future Emperor Liu Bei(刘备), pictured here in his straw coat on the right side of the middle sheet.
This is a crucial scene – Liu Bei has visited the statesman and strategist Zhu Ge Liang (诸葛亮) – also known as Kongming (孔明) – three times to convince him to join his efforts to overthrow the deeply corrupt Han leaders. Liu Bei’s efforts could not be thwarted by the deep snows and freezing temperatures -- eventually his determination overcomes the doubts of Zhu Ge Liang, who joined his efforts – in time, together, they would rule.
So why was a Chinese legend so popular in Edo Japan that it was portrayed by the great Kuniyoshi? The answer is almost as interesting as the plot itself.
Known in Japan as Tusuzoku Sangokushi, it was painstakingly translated by monks in Kyoto and published between 1689 and 1692. It became a big hit, as we say today.
And why not? In the end, the idea of brave warriors overthrowing corrupt leaders is universal. Good versus evil needs no translation. Indeed, many great works of Chinese literature lived on in Japan. And this one remained popular right up until Kuniyoshi’s time.
He spared no creativity in this design. Liu Bei and his compatriots are ruddy-faced and roughly drawn, brawny and muscular, contrasting the more feminine Japanese ideal of male beauty at the time. They are outside on a dark night, with snow covering the trees and their straw hats. You can feel the deep winter chill.
Meanwhile, we glimpse Zhu Ge Liang in his home, dressed in classical attire, cosseted in warmth. His attendants open the door to see who it could be at this hour – and, for the third time, it's that persistent Liu Bei.
You can’t keep a good man down.
In fact, this story was so popular that Kuniyoshi’s star pupil, Tsukioka Yoshiitoshi, took a crack at it, also in the tryptych format. Comparing these two designs — and their striking similarities, even as the technology of printing woodlbocks had clearly improved — is a fascinating exercise.
江户初期，《三国演义》传入日本。十七世纪末，由湖南文山翻译的《通俗三国志》问世，激起了江户仔们的极大热情，各种话本、绘本、浮世绘此后层出不穷，开启了日本经久不衰的“三国热”。
今日这件三联绘，就取材于一个著名的三国故事——《三顾茅庐》。
按照《三国演义》记载，刘备初至隆中访诸葛亮不遇；数日后，刘备与关羽，张飞一同再次寻访。此时正值隆冬，天气严寒，三人才行数里，忽然便“朔风凛凛，瑞雪霏霏”，这场瑞雪，也就为本画定下了背景基调：后方一角天空彤云密布，由远及近的枯树、老松、竹枝好似蜡塑，柴扉、石阶、茅庐皆被银装；人物蓑衣斗笠玉屑斑驳，积雪可掩靴面；从众人的鬓角须髯，以及张飞丈八蛇矛上系着的斗笠与酒葫芦飘起的角度看，北风也刮得正紧。画面右下方站位最前的刘备，正询问应门的童子，态度温和而恳切；在他后方是关羽关云长，面若重枣，五绺长髯，双眉微蹙，不怒自威；最右侧的张飞，肤色灰黑，双眼圆瞪，虎面含嗔，一看就是对风雪交加上山访“村夫”颇有怨言，怒气冲冲便想持矛上前。若不是关二爷的一手阻拦，他必会大闹卧龙岗。
三个人物，三种神态，都定格在了最鲜活的瞬间。而我们的诸葛亮，则在画面左侧的茅庐中半倚书桌，布衣纶巾，一副“山人自有妙计”的模样。虽仅占画面一角，但众人却皆因他而动，以动衬静，谁是“主角”，不言而喻。
好的叙事画，可以超越故事本身。
Interested in purchasing?
Please contact us.
歌川国芳 Utagawa Kuniyoshi (1798–1861)
通俗三国志之内 玄德三雪中孔明访图
Xuande [Liu Bei] Visits Kongming [Zhu Geliang] Three Times in the Snow, from the series Popular Romance of the Three Kingdoms
1853
木版画 | 三联续绘-纵绘大判 | 35.5cm x 25cm x 3
Woodblock-print | Triptych-Oban-tate-e | 35.5cm x 25cm x 3
品相完好；边缘经轻微修剪；经托底
Fine condition; slight trimming; backing
$3,200
So much to unpack and enjoy in this triptych by Utagawa Kuniyoshi, but I’m making it my new featured print for one main reason – snow. It’s been a snowy winter in New York and Tokyo for sure, but spring will be here soon so let’s honor the departing season with this wonderful and fascinating print.
The Romance of the Three Kingdoms is a historical novel from 14th Century China that depicted the fall of the Han Dynasty and the political maneuverings, intrigues and military campaigns of that era. It is considered one of the great works of Chinese literature, featuring the legendary 108 outlaws of Liangshan and more than 800 characters spread over 100 chapters totalling more than 800,000 words. Mixing truth and fiction, it follows the adventures of several revolutionaries, especially the future Emperor Liu Bei(刘备), pictured here in his straw coat on the right side of the middle sheet.
This is a crucial scene – Liu Bei has visited the statesman and strategist Zhu Ge Liang (诸葛亮) – also known as Kongming (孔明) – three times to convince him to join his efforts to overthrow the deeply corrupt Han leaders. Liu Bei’s efforts could not be thwarted by the deep snows and freezing temperatures -- eventually his determination overcomes the doubts of Zhu Ge Liang, who joined his efforts – in time, together, they would rule.
So why was a Chinese legend so popular in Edo Japan that it was portrayed by the great Kuniyoshi? The answer is almost as interesting as the plot itself.
Known in Japan as Tusuzoku Sangokushi, it was painstakingly translated by monks in Kyoto and published between 1689 and 1692. It became a big hit, as we say today.
And why not? In the end, the idea of brave warriors overthrowing corrupt leaders is universal. Good versus evil needs no translation. Indeed, many great works of Chinese literature lived on in Japan. And this one remained popular right up until Kuniyoshi’s time.
He spared no creativity in this design. Liu Bei and his compatriots are ruddy-faced and roughly drawn, brawny and muscular, contrasting the more feminine Japanese ideal of male beauty at the time. They are outside on a dark night, with snow covering the trees and their straw hats. You can feel the deep winter chill.
Meanwhile, we glimpse Zhu Ge Liang in his home, dressed in classical attire, cosseted in warmth. His attendants open the door to see who it could be at this hour – and, for the third time, it's that persistent Liu Bei.
You can’t keep a good man down.
In fact, this story was so popular that Kuniyoshi’s star pupil, Tsukioka Yoshiitoshi, took a crack at it, also in the tryptych format. Comparing these two designs — and their striking similarities, even as the technology of printing woodlbocks had clearly improved — is a fascinating exercise.
江户初期，《三国演义》传入日本。十七世纪末，由湖南文山翻译的《通俗三国志》问世，激起了江户仔们的极大热情，各种话本、绘本、浮世绘此后层出不穷，开启了日本经久不衰的“三国热”。
今日这件三联绘，就取材于一个著名的三国故事——《三顾茅庐》。
按照《三国演义》记载，刘备初至隆中访诸葛亮不遇；数日后，刘备与关羽，张飞一同再次寻访。此时正值隆冬，天气严寒，三人才行数里，忽然便“朔风凛凛，瑞雪霏霏”，这场瑞雪，也就为本画定下了背景基调：后方一角天空彤云密布，由远及近的枯树、老松、竹枝好似蜡塑，柴扉、石阶、茅庐皆被银装；人物蓑衣斗笠玉屑斑驳，积雪可掩靴面；从众人的鬓角须髯，以及张飞丈八蛇矛上系着的斗笠与酒葫芦飘起的角度看，北风也刮得正紧。画面右下方站位最前的刘备，正询问应门的童子，态度温和而恳切；在他后方是关羽关云长，面若重枣，五绺长髯，双眉微蹙，不怒自威；最右侧的张飞，肤色灰黑，双眼圆瞪，虎面含嗔，一看就是对风雪交加上山访“村夫”颇有怨言，怒气冲冲便想持矛上前。若不是关二爷的一手阻拦，他必会大闹卧龙岗。
三个人物，三种神态，都定格在了最鲜活的瞬间。而我们的诸葛亮，则在画面左侧的茅庐中半倚书桌，布衣纶巾，一副“山人自有妙计”的模样。虽仅占画面一角，但众人却皆因他而动，以动衬静，谁是“主角”，不言而喻。
好的叙事画，可以超越故事本身。
Interested in purchasing?
Please contact us.
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