KUNISADA • 鼠僧 • 1856 • 日本木版画 • 浮世绘 - 日本 - Edo Period (1600-1868)
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卖家的描述
Utagawa Kunisada / Toyokuni III (歌川国貞・三代豊国, 1786–1865)
Ra (ら) – “Ra is for Raigō, the Rat Priest”
From the series Seisho nanatsu iroha (清書七意呂波) — Seven Calligraphic Models for Each Character in the Kana Syllabary
Date: 1856 (Ansei 3)
Technique: Woodblock print (mokuhanga), polychrome (nishiki-e)
Format: Ōban tate-e, approx. 36 × 24.5 cm
----------------------------------------------------------------------
IMPRESSION & COLOUR: Excellent. A strong, fresh impression with crisp keyblock lines throughout — the fine carving is fully preserved in the strands of the actor's coiffure, the scales of the embroidered dragon, and the dense brocade patterning of the robe. Colours are vivid and well balanced: deep purples and oranges in the costume, clear blues and greens in the floral roundels, and a saturated red in the title cartouche. The spectral rat looming in the grey ground above the figure is here very subtly printed, an effect prized in fine early impressions of this design — the apparition emerges from the gloom almost imperceptibly rather than as a hard, obvious silhouette.
PAPER & CONDITION: Very good. The sheet is firm and intact, with no tears, holes, or losses, and the image area is clean. There is minor trimming at the margin, well outside the image area, with no effect on the design.
----------------------------------------------------------------------
The Scene — The Warrior Who Inherited a Dead Monk's Curse
A young man fixes the viewer with a hard, brooding stare, his hands locked together before his chest in a sorcerer's mudra. He is gorgeously dressed — a heavy court robe across which coils a gold-scaled dragon clutching a flaming jewel, layered over brocades of orange, purple and blue. But the splendour of the costume only sharpens the menace of what hangs behind him: out of the smoky grey darkness, barely there, the ghostly form of an enormous rat takes shape, its blank eye and bristling whiskers dissolving back into shadow. This is not a beast he fears. It is a power he has summoned.
The figure is the kabuki actor Nakamura Fukusuke I in the role of Shimizu Kaja Yoshitaka, a warrior who, in the popular Edo retelling of the tale, has been taught the secret art of rat sorcery (nezumi no jutsu). Kunisada stages the moment of conjuration itself — the locked hands, the gathering apparition — and trusts the printer's restraint to do the rest. The deliberately faint printing of the rat, set against the dense colour and bravura pattern-work of the foreground, is the design's masterstroke: the supernatural is felt before it is seen.
Raigō and the Iron Rat — A Legend of the Broken Promise
The "rat priest" of the title is Raigō Ajari, an eleventh-century abbot of Mii-dera (Onjō-ji) and spiritual advisor to the Emperor Shirakawa. According to the legend preserved in the war chronicles, the emperor — long without an heir — promised Raigō any reward he wished if his prayers produced a son. A prince was duly born; but when Raigō asked for the right to build an ordination platform at his temple, the court refused, fearing the anger of the rival monastery on Mount Hiei. Consumed by rage at the broken promise, Raigō starved himself to death.
His grudge did not die with him. The Taiheiki tells how his spirit became Tessō, the "iron rat" — a monstrous creature with a body hard as stone and teeth and claws of metal — at the head of an army of eighty-four thousand rats that poured up Mount Hiei and devoured the sutras, scrolls and Buddha images of Enryaku-ji. The tale became one of the most beloved vengeful-spirit (onryō) stories in Japan, depicted by Kuniyoshi and, most famously, by Yoshitoshi in his New Forms of Thirty-six Ghosts.
The figure in this print, however, is not Raigō. In Takizawa Bakin's celebrated novel Raigō Ajari Kaisōden (頼豪阿闍梨恠鼠伝, illustrated by Hokusai), the dead monk's rat magic is passed to a new hero: the orphaned warrior Shimizu Yoshitaka, son of Kiso no Yoshinaka, to whom Raigō appears and grants mastery over the rats so that he may avenge his father — all the while hunted by an enemy whose name, Nekoma, begins with the character for "cat." It is this cat-and-mouse fiction that the kabuki stage adapted, and this moment of inherited sorcery that Kunisada records here.
卖家故事
我已经收集日本版画很久了——从经典的浮世绘到新派绘画和创作版画。起初只是个人爱好，如今发展成更大的事业，如今我从拍卖会、画廊和遍及日本与欧洲的私人收藏中获取版画。
随着全球对日本木版画兴趣的增加，画廊的价格也在稳步上升。我的目标很简单：以合理的价格提供高质量、正品的版画。我对所售作品要求很高——我寻找的作品应该保存良好、保持摊平、且没有严重的纸泛、污渍或损坏。
我总部在德国，这意味着欧盟买家无需缴纳进口关税或税费。对于美国买家，原始艺术品在海关编码9702项同样免税。无论你身在何处，我都会用多层保护小心打包，确保你的版画安全到达。
如果你对某件作品有疑问，随时联系我。你在我的拍品中竞标获胜后，就可以获得联系我的入口。
使用Google翻译翻译Utagawa Kunisada / Toyokuni III (歌川国貞・三代豊国, 1786–1865)
Ra (ら) – “Ra is for Raigō, the Rat Priest”
From the series Seisho nanatsu iroha (清書七意呂波) — Seven Calligraphic Models for Each Character in the Kana Syllabary
Date: 1856 (Ansei 3)
Technique: Woodblock print (mokuhanga), polychrome (nishiki-e)
Format: Ōban tate-e, approx. 36 × 24.5 cm
----------------------------------------------------------------------
IMPRESSION & COLOUR: Excellent. A strong, fresh impression with crisp keyblock lines throughout — the fine carving is fully preserved in the strands of the actor's coiffure, the scales of the embroidered dragon, and the dense brocade patterning of the robe. Colours are vivid and well balanced: deep purples and oranges in the costume, clear blues and greens in the floral roundels, and a saturated red in the title cartouche. The spectral rat looming in the grey ground above the figure is here very subtly printed, an effect prized in fine early impressions of this design — the apparition emerges from the gloom almost imperceptibly rather than as a hard, obvious silhouette.
PAPER & CONDITION: Very good. The sheet is firm and intact, with no tears, holes, or losses, and the image area is clean. There is minor trimming at the margin, well outside the image area, with no effect on the design.
----------------------------------------------------------------------
The Scene — The Warrior Who Inherited a Dead Monk's Curse
A young man fixes the viewer with a hard, brooding stare, his hands locked together before his chest in a sorcerer's mudra. He is gorgeously dressed — a heavy court robe across which coils a gold-scaled dragon clutching a flaming jewel, layered over brocades of orange, purple and blue. But the splendour of the costume only sharpens the menace of what hangs behind him: out of the smoky grey darkness, barely there, the ghostly form of an enormous rat takes shape, its blank eye and bristling whiskers dissolving back into shadow. This is not a beast he fears. It is a power he has summoned.
The figure is the kabuki actor Nakamura Fukusuke I in the role of Shimizu Kaja Yoshitaka, a warrior who, in the popular Edo retelling of the tale, has been taught the secret art of rat sorcery (nezumi no jutsu). Kunisada stages the moment of conjuration itself — the locked hands, the gathering apparition — and trusts the printer's restraint to do the rest. The deliberately faint printing of the rat, set against the dense colour and bravura pattern-work of the foreground, is the design's masterstroke: the supernatural is felt before it is seen.
Raigō and the Iron Rat — A Legend of the Broken Promise
The "rat priest" of the title is Raigō Ajari, an eleventh-century abbot of Mii-dera (Onjō-ji) and spiritual advisor to the Emperor Shirakawa. According to the legend preserved in the war chronicles, the emperor — long without an heir — promised Raigō any reward he wished if his prayers produced a son. A prince was duly born; but when Raigō asked for the right to build an ordination platform at his temple, the court refused, fearing the anger of the rival monastery on Mount Hiei. Consumed by rage at the broken promise, Raigō starved himself to death.
His grudge did not die with him. The Taiheiki tells how his spirit became Tessō, the "iron rat" — a monstrous creature with a body hard as stone and teeth and claws of metal — at the head of an army of eighty-four thousand rats that poured up Mount Hiei and devoured the sutras, scrolls and Buddha images of Enryaku-ji. The tale became one of the most beloved vengeful-spirit (onryō) stories in Japan, depicted by Kuniyoshi and, most famously, by Yoshitoshi in his New Forms of Thirty-six Ghosts.
The figure in this print, however, is not Raigō. In Takizawa Bakin's celebrated novel Raigō Ajari Kaisōden (頼豪阿闍梨恠鼠伝, illustrated by Hokusai), the dead monk's rat magic is passed to a new hero: the orphaned warrior Shimizu Yoshitaka, son of Kiso no Yoshinaka, to whom Raigō appears and grants mastery over the rats so that he may avenge his father — all the while hunted by an enemy whose name, Nekoma, begins with the character for "cat." It is this cat-and-mouse fiction that the kabuki stage adapted, and this moment of inherited sorcery that Kunisada records here.
卖家故事
我已经收集日本版画很久了——从经典的浮世绘到新派绘画和创作版画。起初只是个人爱好，如今发展成更大的事业，如今我从拍卖会、画廊和遍及日本与欧洲的私人收藏中获取版画。
随着全球对日本木版画兴趣的增加，画廊的价格也在稳步上升。我的目标很简单：以合理的价格提供高质量、正品的版画。我对所售作品要求很高——我寻找的作品应该保存良好、保持摊平、且没有严重的纸泛、污渍或损坏。
我总部在德国，这意味着欧盟买家无需缴纳进口关税或税费。对于美国买家，原始艺术品在海关编码9702项同样免税。无论你身在何处，我都会用多层保护小心打包，确保你的版画安全到达。
如果你对某件作品有疑问，随时联系我。你在我的拍品中竞标获胜后，就可以获得联系我的入口。
使用Google翻译翻译详细资料
王朝风格/时期
Edo Period (1600-1868)
原产国
日本
Attribution
Original
Height
36 cm
Width
48 cm
艺术品标题
KUNISADA • The Rat Priest • 1856 • Japanese Woodblock Print • Ukiyo-e
Condition
极佳状态
起源
私人收藏
真伪
原始的/正式的
