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Έχει μεταπτυχιακό στην Ιστορία Ιαπωνικής Τέχνης με άνω των 10 ετών εμπειρία.
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Diptyχο Ōban tate-e ουίκιο-ε ξυλογραφία του Utagawa Kunisada (Toyokuni III) από την περίοδο Edo, απεικονίζοντας Kitsune Tadanobu και Shizuka Gozen από το Yoshitsune Senbon Zakura, με χρονολογία 1854, σε κατάσταση καλή.
Περιγραφή από τον πωλητή
Artist: Utagawa Kunisada / Toyokuni III (歌川国貞・三代豊国, 1786–1865)
Title: Untitled — identified by the role cartouches: 狐忠信 Kitsune Tadanobu (the fox Tadanobu, left sheet) and 靜御前 Shizuka Gozen (right sheet)
Subject: Yakusha-e (kabuki actor print) — a scene from Yoshitsune Senbon Zakura (義経千本桜), "Yoshitsune and the Thousand Cherry Trees"
Format: Ōban tate-e diptych, two separate sheets, each approx. 36 × 24 cm
Technique: Nishiki-e (full-colour woodblock print)
Date: Kaei 7 (1854), 6th month — combined round aratame (改) censor and date seal on each sheet
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Condition: Excellent colour and impression — bright, fresh and well-registered. The paper is firm and subtle. A very unique design! Please refer to the images for full condition detail.
----------------------------------------------------------------------
About the print
Few moments in the kabuki repertoire were printed as often, or loved as well, as the fox and the drum. In Yoshitsune Senbon Zakura, Yoshitsune's mistress Shizuka Gozen carries the Hatsune no tsuzumi, a hand-drum given her by her lover — and unknown to her, its two heads are made from the skins of a pair of foxes. Their child follows the drum in the shape of Satō Tadanobu, Yoshitsune's loyal retainer, guarding Shizuka through the cherry hills of Yoshino for the sake of the parents he can hear inside it. The recognition scene at Kawatsura Hōgen's mansion, in which the fox is unmasked and finally given the drum, is the best known passage of the whole play.
Kunisada stages exactly that suspended instant. On the right, Shizuka kneels on a patterned mat at the edge of a palace veranda, robed in layered pink, red and indigo with peony and pine-bark roundels, a blossom-laden hair ornament above her brow, the little drum lifted to her shoulder. On the left, Tadanobu has come to a halt on the boards, his head turned back, his mouth open — a man arrested mid-motion by a sound only he understands. His costume is the one the role demands: rose-red haori over pale blue nagabakama strewn with black-and-gold cart-wheel roundels, the wheel motif long associated with the part. Between them a bank of blossoming cherry falls across pale bamboo blinds; behind, stylised water and gilded cloud-bands close the scene off like a painted screen."
Ιστορία πωλητή
Artist: Utagawa Kunisada / Toyokuni III (歌川国貞・三代豊国, 1786–1865)
Title: Untitled — identified by the role cartouches: 狐忠信 Kitsune Tadanobu (the fox Tadanobu, left sheet) and 靜御前 Shizuka Gozen (right sheet)
Subject: Yakusha-e (kabuki actor print) — a scene from Yoshitsune Senbon Zakura (義経千本桜), "Yoshitsune and the Thousand Cherry Trees"
Format: Ōban tate-e diptych, two separate sheets, each approx. 36 × 24 cm
Technique: Nishiki-e (full-colour woodblock print)
Date: Kaei 7 (1854), 6th month — combined round aratame (改) censor and date seal on each sheet
----------------------------------------------------------------------
Condition: Excellent colour and impression — bright, fresh and well-registered. The paper is firm and subtle. A very unique design! Please refer to the images for full condition detail.
----------------------------------------------------------------------
About the print
Few moments in the kabuki repertoire were printed as often, or loved as well, as the fox and the drum. In Yoshitsune Senbon Zakura, Yoshitsune's mistress Shizuka Gozen carries the Hatsune no tsuzumi, a hand-drum given her by her lover — and unknown to her, its two heads are made from the skins of a pair of foxes. Their child follows the drum in the shape of Satō Tadanobu, Yoshitsune's loyal retainer, guarding Shizuka through the cherry hills of Yoshino for the sake of the parents he can hear inside it. The recognition scene at Kawatsura Hōgen's mansion, in which the fox is unmasked and finally given the drum, is the best known passage of the whole play.
Kunisada stages exactly that suspended instant. On the right, Shizuka kneels on a patterned mat at the edge of a palace veranda, robed in layered pink, red and indigo with peony and pine-bark roundels, a blossom-laden hair ornament above her brow, the little drum lifted to her shoulder. On the left, Tadanobu has come to a halt on the boards, his head turned back, his mouth open — a man arrested mid-motion by a sound only he understands. His costume is the one the role demands: rose-red haori over pale blue nagabakama strewn with black-and-gold cart-wheel roundels, the wheel motif long associated with the part. Between them a bank of blossoming cherry falls across pale bamboo blinds; behind, stylised water and gilded cloud-bands close the scene off like a painted screen."
