'Spring Farewell of Amorous Genji' 艶源氏春のきぬぎぬ - 1855 - Utagawa Kunisada II (1823-80) - 日本 - Late Edo period
编号 83139585
已不存在
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2周前
'Scenery of Arai, One of the Fifty-three Stages of the Tôkaidô' 東海道五十三次-新井風景 - 1863 - Utagawa Yoshimori (1830-1884) - 日本 - Late Edo period
Original woodblock print, Triptych – Utagawa Yoshimori (1830-1884) – ” Tokaido gojuusantsugi araifuukei” 東海道五十三次-新井風景 (Tokaido Gojuusantsugi arai view) – Japan – 1863(Bunkyu 3 period)
The signature says “ Yoshimori ga 芳盛画 ”.
It depicts Minamoto Yoritomo hunting wild boars.
Minamoto no Yoritomo is riding a horse.
This art work drawn the Utagawa school, Utagawa Kunisada, Utagawa Kuniyoshi, and Yoshitora, Sadahide, and Yoshikazu, who are Kuniyoshi's disciples like Yoshimori.
However, Yoshimori is the only one who has drawn a boar so large in a work based on Yoritomo's wild boar hunting.
Yoshimori studied Nanga and was friends with Kyosai.
Perhaps for this reason, the wild boar's face resembles that of a Nanga painting rather than that of an ukiyo-e artist.
It is a mystery why the wild boar was drawn so big, but I think there was also a political cartoon aspect.
See Museum of Fine Arts, Boston: https://collections.mfa.org/objects/536738
memo(Utagawa Yoshimori)
Utagawa Kuniyoshi’s apprentice.
he took on Utagawa as a surname, and also used the surname Ikkosai(一光斎)、Kosai(光斎)、Sakemori(酒盛)、Sakurabo,(さくら坊)(桜ん坊),as an art name.
He often imitated Kuniyoshi’s style, drawing samurai paintings, flower and bird paintings, and was good at Caricature.
#MorganNiquetCollection
编号 83139585
已不存在
'Scenery of Arai, One of the Fifty-three Stages of the Tôkaidô' 東海道五十三次-新井風景 - 1863 - Utagawa Yoshimori (1830-1884) - 日本 - Late Edo period
Original woodblock print, Triptych – Utagawa Yoshimori (1830-1884) – ” Tokaido gojuusantsugi araifuukei” 東海道五十三次-新井風景 (Tokaido Gojuusantsugi arai view) – Japan – 1863(Bunkyu 3 period)
The signature says “ Yoshimori ga 芳盛画 ”.
It depicts Minamoto Yoritomo hunting wild boars.
Minamoto no Yoritomo is riding a horse.
This art work drawn the Utagawa school, Utagawa Kunisada, Utagawa Kuniyoshi, and Yoshitora, Sadahide, and Yoshikazu, who are Kuniyoshi's disciples like Yoshimori.
However, Yoshimori is the only one who has drawn a boar so large in a work based on Yoritomo's wild boar hunting.
Yoshimori studied Nanga and was friends with Kyosai.
Perhaps for this reason, the wild boar's face resembles that of a Nanga painting rather than that of an ukiyo-e artist.
It is a mystery why the wild boar was drawn so big, but I think there was also a political cartoon aspect.
See Museum of Fine Arts, Boston: https://collections.mfa.org/objects/536738
memo(Utagawa Yoshimori)
Utagawa Kuniyoshi’s apprentice.
he took on Utagawa as a surname, and also used the surname Ikkosai(一光斎)、Kosai(光斎)、Sakemori(酒盛)、Sakurabo,(さくら坊)(桜ん坊),as an art name.
He often imitated Kuniyoshi’s style, drawing samurai paintings, flower and bird paintings, and was good at Caricature.
#MorganNiquetCollection
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