Hiroshige II | Suo Iwakuni Kintai bashi, 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 周防岩国锦带桥
Suo Iwakuni Kintai-bashi, 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；边缘完整；品相非常好
Very early impression with beautiful wood grains; full margin; 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》，即成为了他创作生涯中的一大高光之作。
周防，即周防国，日本古代令制国，国境约位于今山口县东南部，岩国为其境内一藩；锦带桥，是位于今山口县岩国市的一座五连木造拱桥，始建于1637年，全长近200米。其桥体结构精巧非常，造型典雅美观，与东京的日本桥及长崎的眼镜桥一同被列为日本三名桥。
雪中的锦带桥果真不负“锦带”之名，翩若玉带，婉若银龙，以极富韵律感的姿态，轻柔横跨于碧蓝锦川之上。四座砾石桥墩此时正像为锦带起舞而搭建的舞台，用厚重之身躯凸显木质桥体的轻盈灵动。锦川岸上，锦见之里祥和安宁，屋舍俨然，松柳玉砌，斗笠蓑衣者往来五六，踏雪足印数行。全幅构图凝练，色彩简约，颇具广重遗风。
本作为《诸国名所百景》中最受藏家追捧的一幅，亦是二代广重的代表作之一，足可与初代广重最上乘的作品相媲美。
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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. (On occasion his people look sadly like stick figures.)
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.