YOSHITOSHI . 月之百态 . 正宗日本木版画 . 浮世绘 - 日本 - 明治時期（1868-1912）
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賣家描述
TSUKIOKA YOSHITOSHI (1839–1892)
Titel: 世尊寺の月 少将義孝 — Sesonji no tsuki, Shōshō Yoshitaka
Series: Tsuki Hyakushi (月百姿) — One Hundred Aspects of the Moon; Stevenson no. 33
Date: Meiji 19 (1886) — red date cartouche 御届明治十九年六月五日 printed in the left margin
Publisher: Akiyama Buemon (秋山武右衛門)
Format: Ōban tate-e — approx. 36 × 24.5 cm
Technique: Woodblock print (mokuhanga), polychrome (nishiki-e)
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Condition
Very good impression, and the colour retains its full intensity — embellished with textile pattern burnishing that flashes when tilted to light. Overall excellent. The sheet carries an album backing.
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The Scene
A young courtier sits alone on the grass in an oversized kariginu of pale blue patterned with roundels of stylised blossom, purple trousers spread beneath him, a stiff black eboshi on his head and his eyebrows plucked and repainted in the Heian manner. Behind him a bare tree and a stand of pines climb a grey hillside; a pale sun — or moon — hangs just above the ridge. He is not looking at it. He is looking at nothing, and that is the whole design.
The figure is Fujiwara no Yoshitaka (954–974), Captain of the Right Bodyguards, and one of the finest young poets of the mid-Heian court. He was composing linked verse at palace gatherings by the age of twelve; he is said to have withdrawn from poetry to spare his elder brother the rivalry, and turned instead to Buddhist practice and the Lotus Sutra. He died at twenty in the smallpox epidemic of 974, on the same day as his brother — the Ōkagami records that one died in the morning and the other in the evening, and dwells on the mother left behind. His single poem in the Ogura Hyakunin Isshu, No. 50, is a morning-after verse of startling directness: having thought his life worth nothing for her sake, he now finds himself wishing it long.
-------------------------------------------------------------------
The Series — Yoshitoshi's Late Masterpiece
Tsuki Hyakushi (One Hundred Aspects of the Moon), published by Akiyama Buemon between 1885 and 1892, is universally regarded as the crowning achievement of Yoshitoshi's career and one of the last great monuments of the ukiyo-e tradition. Across one hundred designs drawn from history, legend, literature, and — as here — the living festival culture of Edo, the moon serves as the unifying thread. This sheet, published in June 1886 during the strong early run of the series, preserves the full publication block in the margin: the red date cartouche and the Akiyama Buemon address.
Yoshitoshi trained under Utagawa Kuniyoshi and is widely regarded as the last great master of ukiyo-e. Impressions of this design are held by the Library of Congress, the National Museum of Asian Art (Smithsonian), the Art Gallery of New South Wales, and other major collections.
賣家的故事
我已经收集日本木版画有相当长的时间了——从经典的浮世绘到新派日本版画（shin-hanga）和创作派木版画（sōsaku-hanga）应有尽有。最初只是个人的爱好，后来逐渐发展成更深的事业，如今我从日本和欧洲的拍卖、画廊以及私人收藏中采购版画。
随着全球对日本木版画的兴趣日益增长，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。我对出售的作品要求非常严格——我寻找那些保存得当、保持平整、没有严重的黄变、污渍或损坏的作品。
我常驻德国，这意味着欧盟买家无需承担进口关税或税费。对美国买家，海关编码9702下的原创艺术品也享受免关税。无论你身在何处，我都会采用多层保护的包装，认真打包，确保你的版画安全送达。
如果你对某件作品有疑问，欢迎随时联系我。一旦你在我的拍品中中标，就可以获得与我联系的权限。
由Google翻譯翻譯TSUKIOKA YOSHITOSHI (1839–1892)
Titel: 世尊寺の月 少将義孝 — Sesonji no tsuki, Shōshō Yoshitaka
Series: Tsuki Hyakushi (月百姿) — One Hundred Aspects of the Moon; Stevenson no. 33
Date: Meiji 19 (1886) — red date cartouche 御届明治十九年六月五日 printed in the left margin
Publisher: Akiyama Buemon (秋山武右衛門)
Format: Ōban tate-e — approx. 36 × 24.5 cm
Technique: Woodblock print (mokuhanga), polychrome (nishiki-e)
--------------------------------------------------------------------
Condition
Very good impression, and the colour retains its full intensity — embellished with textile pattern burnishing that flashes when tilted to light. Overall excellent. The sheet carries an album backing.
---------------------------------------------------------------------
The Scene
A young courtier sits alone on the grass in an oversized kariginu of pale blue patterned with roundels of stylised blossom, purple trousers spread beneath him, a stiff black eboshi on his head and his eyebrows plucked and repainted in the Heian manner. Behind him a bare tree and a stand of pines climb a grey hillside; a pale sun — or moon — hangs just above the ridge. He is not looking at it. He is looking at nothing, and that is the whole design.
The figure is Fujiwara no Yoshitaka (954–974), Captain of the Right Bodyguards, and one of the finest young poets of the mid-Heian court. He was composing linked verse at palace gatherings by the age of twelve; he is said to have withdrawn from poetry to spare his elder brother the rivalry, and turned instead to Buddhist practice and the Lotus Sutra. He died at twenty in the smallpox epidemic of 974, on the same day as his brother — the Ōkagami records that one died in the morning and the other in the evening, and dwells on the mother left behind. His single poem in the Ogura Hyakunin Isshu, No. 50, is a morning-after verse of startling directness: having thought his life worth nothing for her sake, he now finds himself wishing it long.
-------------------------------------------------------------------
The Series — Yoshitoshi's Late Masterpiece
Tsuki Hyakushi (One Hundred Aspects of the Moon), published by Akiyama Buemon between 1885 and 1892, is universally regarded as the crowning achievement of Yoshitoshi's career and one of the last great monuments of the ukiyo-e tradition. Across one hundred designs drawn from history, legend, literature, and — as here — the living festival culture of Edo, the moon serves as the unifying thread. This sheet, published in June 1886 during the strong early run of the series, preserves the full publication block in the margin: the red date cartouche and the Akiyama Buemon address.
Yoshitoshi trained under Utagawa Kuniyoshi and is widely regarded as the last great master of ukiyo-e. Impressions of this design are held by the Library of Congress, the National Museum of Asian Art (Smithsonian), the Art Gallery of New South Wales, and other major collections.
賣家的故事
我已经收集日本木版画有相当长的时间了——从经典的浮世绘到新派日本版画（shin-hanga）和创作派木版画（sōsaku-hanga）应有尽有。最初只是个人的爱好，后来逐渐发展成更深的事业，如今我从日本和欧洲的拍卖、画廊以及私人收藏中采购版画。
随着全球对日本木版画的兴趣日益增长，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。我对出售的作品要求非常严格——我寻找那些保存得当、保持平整、没有严重的黄变、污渍或损坏的作品。
我常驻德国，这意味着欧盟买家无需承担进口关税或税费。对美国买家，海关编码9702下的原创艺术品也享受免关税。无论你身在何处，我都会采用多层保护的包装，认真打包，确保你的版画安全送达。
如果你对某件作品有疑问，欢迎随时联系我。一旦你在我的拍品中中标，就可以获得与我联系的权限。
由Google翻譯翻譯詳細資料
朝代風格／時期
明治時期（1868-1912）
物品數量
1
原產國
日本
Attribution
原版
Height
36 cm
Width
24 cm
藝術品標題
YOSHITOSHI . 100 aspects of the Moon . auth Japanese Woodblock Print . Ukiyo-e
Condition
極佳狀態
真偽
原創/正版
