落合芳幾 Ochiai Yoshiiku (1833-1904)
俳优写真镜 真虫次郎吉 尾上菊五郎 五代目
Actor Onoe Kikugoro V as Mamushi no Jirokichi, from the series Photographic Mirror of Actors
1870
木版画 | 纵绘大判 | 39cm x 24.7cm
Woodblock-print | Oban tata-e | 39cm x 24.7cm
早期版次；颜色鲜艳；整体品相完好；有轻微褶皱
Fine impression and color; some creasing, otherwise in good condition.
$2,400
1870年代的日本正处在急剧变化的时代。幕府刚刚覆灭，江户改称东京，国运翻开新页。而变革不仅发生在政治与社会层面，也悄然登上了歌舞伎舞台——甚至在浮世绘的世界里，也开始改变大众看待演员与舞台的方式。
这幅作品出自落合芳几之手，描绘了演员五代目尾上菊五郎在剧中饰演的角色「真虫次郎吉 」。菊五郎以大胆突破歌舞伎传统著称，既擅演刚烈的男角，也能细腻诠释女性角色——在当时，所有角色仍由男性扮演。他还因出演“西洋风”剧目而广受欢迎，常常剪短头发登场，这在讲究发型仪制的歌舞伎世界可谓破格之举。
与此同时，还有另一种“新事物”伴随黑船来到了日本——摄影术。短短数十年间，摄影成为风靡全国的新艺术形式，而全世界也为这片“神秘的土地”所着迷。
到19世纪70年代，摄影显然正逐渐取代木版画，成为日本社会最主要的视觉传播媒介。虽然芳年、清亲等艺术家此时仍在创作代表作，但时代的潮流已在转向。于是芳幾与出版商想到一个新点子：制作一批“看起来像照片的浮世绘”。
这听起来颇为有趣——毕竟浮世绘最迷人的地方之一，正是它大胆的色彩。然而在这幅画中，以及这一系列极为罕见的作品中，芳几舍弃了传统的艳丽色彩，仅以黑白与极简的晕色表现，仿佛是一张手工上色的老照片。
作品呈现出一种奇异的美感：既诡异，又迷人。它记录了一个艺术家在时代巨变中，对“如何回应新审美”的创造性尝试。
The 1870s were a time of rapid change in Japan, with the Shogunate recently overthrown and Edo now proudly Tokyo. But change was also coming to the Kabuki stage and, even more interestingly as far as Ukiyoe goes, how it was portrayed to the masses.
This print by Ochiai Yoshiiku depicts the actor Onoe Kikugoro V in the role of Mamushi no Jirokichi. Kikugoro V was known to push the boundaries of Kabuki, excelling in both male and female roles (at the time all parts were played by men). He was also popular in so-called Western-style plays, often with his hair cropped – a dramatic departure from Kabuki hairstyle traditions.
But something else had arrived in Japan along with the Black Ships just a few scant decades before: photography. Japan went wild for this new art form, and the world hungered for photographs of mysterious and now-opened Japan.
It was becoming clear by the 1870s that photography was going to supplant woodblock prints as Japanese society’s most common visual mass medium, even though some great artists like Yoshitoshi and Kiyochika had yet to produce their finest works. So Yoshiiku and his publisher came up with a novel idea: they’d produce woodblock prints that looked like photographs.
It’s a funny idea, because one of Ukiyoe’s biggest charms was its bold coloring. Instead, in this example, like others in this extremely rare series, the somber palette is black-and-white with minimal colored shading, like a hand-painted photograph.
The result is spooky and charming, depcting a creative response to shifting tastes in a fast-changing Japan.
Interested in purchasing?
Please contact us.
落合芳幾 Ochiai Yoshiiku (1833-1904)
俳优写真镜 真虫次郎吉 尾上菊五郎 五代目
Actor Onoe Kikugoro V as Mamushi no Jirokichi, from the series Photographic Mirror of Actors
1870
木版画 | 纵绘大判 | 39cm x 24.7cm
Woodblock-print | Oban tata-e | 39cm x 24.7cm
早期版次；颜色鲜艳；整体品相完好；有轻微褶皱
Fine impression and color; some creasing, otherwise in good condition.
$2,400
1870年代的日本正处在急剧变化的时代。幕府刚刚覆灭，江户改称东京，国运翻开新页。而变革不仅发生在政治与社会层面，也悄然登上了歌舞伎舞台——甚至在浮世绘的世界里，也开始改变大众看待演员与舞台的方式。
这幅作品出自落合芳几之手，描绘了演员五代目尾上菊五郎在剧中饰演的角色「真虫次郎吉 」。菊五郎以大胆突破歌舞伎传统著称，既擅演刚烈的男角，也能细腻诠释女性角色——在当时，所有角色仍由男性扮演。他还因出演“西洋风”剧目而广受欢迎，常常剪短头发登场，这在讲究发型仪制的歌舞伎世界可谓破格之举。
与此同时，还有另一种“新事物”伴随黑船来到了日本——摄影术。短短数十年间，摄影成为风靡全国的新艺术形式，而全世界也为这片“神秘的土地”所着迷。
到19世纪70年代，摄影显然正逐渐取代木版画，成为日本社会最主要的视觉传播媒介。虽然芳年、清亲等艺术家此时仍在创作代表作，但时代的潮流已在转向。于是芳幾与出版商想到一个新点子：制作一批“看起来像照片的浮世绘”。
这听起来颇为有趣——毕竟浮世绘最迷人的地方之一，正是它大胆的色彩。然而在这幅画中，以及这一系列极为罕见的作品中，芳几舍弃了传统的艳丽色彩，仅以黑白与极简的晕色表现，仿佛是一张手工上色的老照片。
作品呈现出一种奇异的美感：既诡异，又迷人。它记录了一个艺术家在时代巨变中，对“如何回应新审美”的创造性尝试。
The 1870s were a time of rapid change in Japan, with the Shogunate recently overthrown and Edo now proudly Tokyo. But change was also coming to the Kabuki stage and, even more interestingly as far as Ukiyoe goes, how it was portrayed to the masses.
This print by Ochiai Yoshiiku depicts the actor Onoe Kikugoro V in the role of Mamushi no Jirokichi. Kikugoro V was known to push the boundaries of Kabuki, excelling in both male and female roles (at the time all parts were played by men). He was also popular in so-called Western-style plays, often with his hair cropped – a dramatic departure from Kabuki hairstyle traditions.
But something else had arrived in Japan along with the Black Ships just a few scant decades before: photography. Japan went wild for this new art form, and the world hungered for photographs of mysterious and now-opened Japan.
It was becoming clear by the 1870s that photography was going to supplant woodblock prints as Japanese society’s most common visual mass medium, even though some great artists like Yoshitoshi and Kiyochika had yet to produce their finest works. So Yoshiiku and his publisher came up with a novel idea: they’d produce woodblock prints that looked like photographs.
It’s a funny idea, because one of Ukiyoe’s biggest charms was its bold coloring. Instead, in this example, like others in this extremely rare series, the somber palette is black-and-white with minimal colored shading, like a hand-painted photograph.
The result is spooky and charming, depcting a creative response to shifting tastes in a fast-changing Japan.
Interested in purchasing?
Please contact us.
Image 1 of 2
Image 2 of 2