2024年8月16日 星期五

251 日本浮世繪大師--歌川廣重 (歌川広重) 漢清講堂 251 Episode 3 Hiroshige Blue



251 日本浮世繪大師--歌川廣重 (歌川広重) 漢清講堂 251




Episode 3
Hiroshige Blue
Hiroshige's struggles to become a successful ukiyo-e artist is supported by his devoted wife. Using a paint called Berlin blue, he pursues his passion for painting, but success comes at a price. Ep.3


HIROSHIGE

There are only a few days left to admire Hiroshige's prints for fans, a little-known part of the master printmaker's work. Uncut and in their first printing, these unique prints have never been exhibited before. An exhibition produced with exceptional loans from the Georges Leskowicz Collection. "Hiroshige and the Fan. Journey to 19th Century Japan". 📆 Until May 29 at the Guimet Museum © Fundacja Jerzego Leskowicza






14:49

251 日本浮世繪大師--歌川廣重 (歌川広重) 漢清講堂 251

日本浮世繪大師--Three Beauties of the Present Day by Kitagawa Utamaro。 歌川廣重 Hiroshige (歌川広重) (1797-1858);"Hiroshige and the Fan. Journey to 19th Century Japan".「名所江戸百景 浅草川首尾の松御厩河岸」本朝名所 薩多富士」Pine of Success and Oumayagashi, Asakusa River

Three Beauties of the Present Day by Kitagawa Utamaro

Broadcast on March 31, 2018 Available until March 31, 2030

The top 3 female celebrities in Edo: Tomimoto Toyohina, Takashima Ohisa and Naniwaya Kita. See how Utamaro, the master of female beauty has illustrated them so differently.

Program Outline

Ukiyoe EDO-LIFE
36 episodes

Centuries ago, Tokyo was known as Edo. More than a million people enjoyed life in this small but abundant city. They live on in ukiyo-e woodblock prints. Each episode is a deep dive into a single print, and an exploration of the soul of Old Tokyo. We examine works by artists like Hokusai and Hiroshige not just for their aesthetic and historical value, but for the stories they tell of everyday life. That is how the people of Edo themselves enjoyed this mass-produced medium.


https://www3.nhk.or.jp/nhkworld/en/ondemand/video/6030002/?fbclid=IwAR0ivpG96T6Ek13lVQ_BtA_muMpyPQK-UQewoBBdSdYs7VViiI5ked8Uvos

British Museum


Dancing until the sun comes up takes on a new meaning in this Japanese woodblock print, which tells the story of the sun goddess Amaterasu
As goddess of the sun Amaterasu ruled over the entire celestial realm as one of the most important kami – deities in the native Shintō religion.
Her brother, the storm god Susanoo, was jealous and destroyed her fields and palaces. The grieving Amaterasu retreated to a mountain cave, plunging the world into darkness.
The other kami gathered to lure the sun goddess out. They found cockerels, whose crowing precedes the dawn, and hung a mirror in front of her cave. See if you can spot the mirror in the upper right of the print!
The goddess of dance, Amenouzume, lit a bonfire and began to perform. Amenouzume can be seen holding a ‘gohei’ (a wooden wand with paper streamers) and a ‘suzu’ bell tree, both of which are still used in ‘kagura’ Shintō dances today.
Raucous laughter from the assembled deities encouraged Amaterasu to peak out from the cave and light was thus restored to the world.
This print is the work of Utagawa Hiroshige – a master of the ukiyo-e woodblock printing tradition. Throughout his long career he created a phenomenal 8000 prints, mostly subtle and soft landscapes with mist or moonlight
Hiroshige died #OnThisDay in 1858.
Utagawa Hiroshige (1797–1858), ‘A Musical Performance by the Deities Entices the Divine Radiance’ from the series ‘Illustrated Guide to the History of Japan’. Colour woodblock print on paper, Japan, 1847–52. Read more: https://ow.ly/fwLB50PR629








501






英國博物館 3天 · 跳舞直到太陽升起在這幅日本木版畫中被賦予了新的意義,它講述了太陽女神天照的故事🌄 ☀ 身為太陽女神,天照作為本土神道教中最重要的神祇之一統治著整個天界。 🗻 她的哥哥,風暴之神須佐之男嫉妒並摧毀了她的田地和宮殿。悲傷的天照退入山洞,世界陷入黑暗。 🐓 其他神聚集在一起引誘太陽女神。他們發現了黎明前的公雞,並在她的洞穴前掛了一面鏡子。看看你是否能發現印刷品右上角的鏡子! 💃舞蹈女神天女點燃營火開始表演。可以看到雨乃手拿一根「gohei」(有紙飄帶的木杖)和一棵「suzu」鈴樹,這兩種樹至今仍在「神樂」神道舞蹈中使用。 🎉眾神喧鬧的笑聲鼓勵天照從洞穴中爬出,世界因此恢復了光明。 這幅版畫是浮世繪木刻印刷傳統大師歌川廣重的作品。在他漫長的職業生涯中,他創作了 8000 幅驚人的版畫,大部分都是帶有薄霧或月光的微妙而柔和的風景畫 🌙 廣重於 1858 年#OnThisDay 逝世。 🔎 歌川廣重(1797-1858),《日本歷史圖鑑》系列中的《神靈演奏引得神聖光輝》。紙上彩色木版畫,日本,1847-52 年。了解更多:https://ow.ly/fwLB50PR629




Musée national des arts asiatiques - Guimet






| HIROSHIGE
#DerniersJours
Il ne reste plus que quelques jours pour admirer les estampes pour éventails de Hiroshige, pan méconnu de l'œuvre du maître de l'estampe.
Non découpées et dans leur premier tirage, ces estampes uniques n'avaient jamais été exposées auparavant.
Une exposition réalisée avec des prêts exceptionnels de la Collection Georges Leskowicz.
"Hiroshige et l'éventail. Voyage dans le Japon du 19e siècle".
Jusqu'au 29 mai au musée Guimet
© Fundacja Jerzego Leskowicza


Musée national des arts asiatiques - Guimet






| PLEINE LUNE
À l'image du lièvre de cette estampe, vous aussi vous pourrez admirer la pleine lune ce soir.
Le motif pictural qui associe le lièvre et la pleine lune trouve son origine dans des légendes bouddhiques indiennes diffusées au Japon. Dans cette estampe, Hiroshige supprime les lignes de contour du dessin pour n'utiliser que des aplats de couleurs, et joue sur les effets de motifs en réserve.
Une exposition réalisée avec des prêts exceptionnels de la Collection Georges Leskowicz.
"Hiroshige et l'éventail. Voyage dans le Japon du 19e siècle".
Du 15 février au 29 mai au musée Guimet








487


 歌川廣重(1797-1858)


nhk world 
Hiroshige's struggles to become a successful ukiyo-e artist is supported by his devoted wife. Using a paint called Berlin blue, he pursues his passion for painting, but success comes at a price. Ep.3


HIROSHIGE

There are only a few days left to admire Hiroshige's prints for fans, a little-known part of the master printmaker's work. Uncut and in their first printing, these unique prints have never been exhibited before. An exhibition produced with exceptional loans from the Georges Leskowicz Collection. "Hiroshige and the Fan. Journey to 19th Century Japan". 📆 Until May 29 at the Guimet Museum © Fundacja Jerzego Leskowicza





14:49

251 日本浮世繪大師--歌川廣重 (歌川広重) 漢清講堂 251

----本朝名所 薩多富士」

This colourful scene by Hiroshige depicts the rocky and dangerous coastline at Satta on the Tokaido Road in Japan.
Satta was well known for its spectacular views of Mount Fuji. Until 1655, when a pass was made through the mountains, the road led directly along the shore at this point, and could only be crossed at low tide. Here travellers trudge up the steep slope of the pass, seemingly oblivious of the view and the dramatic sunset.
Would you attempt to cross it?!
Detail of a woodblock print by Hiroshige, 1855.




https://collections.mfa.org/objects/498617

Pine of Success and Oumayagashi, Asakusa River (Asakusagawa Shubi no matsu Oumayagashi), from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei)


「名所江戸百景 浅草川首尾の松御厩河岸」
Utagawa Hiroshige I (Japanese, 1797–1858)
Publisher: Uoya Eikichi (Japanese)
Japanese
Edo period
1856 (Ansei 3), 8th month
----Otori Shrine. Hiroshige. 1857.
這幅值得與Manet 的封面







山海見立相撲

這組我以前沒注意

Feeling a bit overwhelmed by the news right now? We recommend staring at this Hiroshige print for an extended period of time (and washing your hands, of course)
This work, called Mount Tatsu in Harima Province, is a woodblock print by Japanese artist Utagawa Hiroshige (1797–1858). It comes from a series called 'Wrestling Matches between Mountains and Sea'.





山海見立相撲 相模大山 - 神奈川県立歴史博物館


山海見立相撲 相模大山
山海見立相撲 相模大山
サンカイミタテズモウ サガミオオヤマ
制作年代
安政5年(1858)
サイズ
(大判横1枚)
作者名/落款
歌川広重(初代)/広重画
解説
広重最晩年の作で、全国各地の名所を描いた二十枚揃いの一枚である。行司が使う軍配がタイトルの枠となっている所から、山海見立相撲の表題がついた。図様は、良弁滝を主題として行き交う参詣人や左に近くの大山寺の一部を描いている。滝の描写も含めて画面全体がやや形式化している。
白居易:不堪紅葉青苔地,又是涼風暮雨天。
日本浮世繪大師--歌川廣重 Hiroshige (歌川広重)
https://hanchingchung.blogspot.com/2018/12/blog-post_10.html




251 日本浮世繪大師--歌川廣重 (歌川広重) 漢清講堂


https://www.youtube.com/watch?v=UiE_e7iIBC8&feature=push-u-sub&attr_tag=t3ebEVMgWrwKw_UM%3A6



Comme ces voyageurs, prenez la route du Musée Guimet aujourd'hui pour découvrir les chefs-d'œuvre de la Collection Leskowicz ! 👜 C'est votre toute dernière chance pour découvrir l'exposition : elle se termine ce soir ! ⚠️ #ExpoTokaido
📆 Jusqu'à 18h !
➡️ bit.ly/expotokaido
______________________
📸 Cinquante-trois relais du Tokaido
Vue du pont Nihonbashi au petit matin (1ère vue). Détail.
Utagawa Hiroshige (1797-1858)
Japon, époque d’Edo, vers 1833-1834
Editeur : Takenouchi Magohachi (Hôeidô)
Impression polychrome
nishiki-e, format oban horizontal (env. 25 x 36 cm)
Fondation Jerzy Leskowicz, collection Leskowicz
© Fondation Jerzy Leskowic


全圖 東海道五十五....


http://www.japanfm.fr/article-6461-partirsur-la-route-du-tokaidopuis-rejoindreappel-a-lactionde-mr-et-pharrell-williams.html




梵谷

辛波絲卡(Wislawa Szymborska): The People On The Bridge;一首詩/思索辛波絲卡的命運

Wisława Szymborska
5018.10.27


Utagawa Hiroshige 歌川広重 1797-1858

https://www.youtube.com/watch?v=qpDloaPywJs


503. The People On The Bridge - Wislawa Szymborska (1)

(Hiroshige Utagawa: "The Landscape")


Translated from the Polish by Stanislaw Baranczak and Clare Cavanagh

An odd planet, and those on it are odd, too.
They're subject to time, but they won't admit it.
They have their own ways of expressing protest.
They make up little pictures, like for instance this:

At first glance, nothing special.
What you see is water.
And one of its banks.
And a little boat sailing strenuously upstream.
And a bridge over the water, and people on the bridge.
It appears that the people are picking up their pace
because of the rain just beginning to lash down
from a dark cloud.

The thing is, nothing else happens.
The cloud doesn't change its color or its shape.
The rain doesn't increase or subside.
The boat sails on without moving.
The people on the bridge are running now
exactly where they ran before.

It's difficult at this point to keep from commenting.
This picture is by no means innocent.
Time has been stopped here.
Its laws are no longer consulted.
It has been relieved of its influence over the course of events.
It has been ignored and insulted.

On account of a rebel,
one Hiroshige Utagawa
(a being who, by the way,
died long ago and in due course),
time has tripped and fallen down.


It might well be simply a trifling prank,
an antic on the scale of just a couple of galaxies,
let us, however, just in case,
add one final comment for the record:

For generations, it's been considered good form here
to think highly of this picture,
to be entranced and moved.

There are those for whom even this is not enough.
They go so far as to hear the rain's spatter,
to feel the cold drops on their necks and backs,
they look at the bridge and the people on it
as if they saw themselves there,
running the same never-to-be-finished race
through the same endless, ever-to-be-covered distance,
and they have the nerve to believe
that this is really so.


Utagawa Hiroshige (1797-1858)
Edo period (1615-1868), 1857
An oban tate-e print
Private collection

旅行的意義—歌川廣重隸書版《東海道五十三次》中描繪的旅行事物 王健宇



iyazuddin Munshi 發文到 #1Friends Who Like Riyazuddin Munshi's Shared Art Studio
Hiroshige (1797–1858)
"The moon over a waterfall

“Utagawa Hiroshige (歌川 広重), Heavy Rain on a Pine Tree, c. 1834. ”

[Haïku]
Brume et pluie
Fuji caché. Mais cependant je vais
Content.
霧しぐれ
富士を見ぬ日ぞ
面白き
- Matsuo Bashō (1644-1695)
Un haïku pour accompagner la vue de Shono, station de la route du Tokaido où s'abat le mauvais temps, et pour braver le vent et la baisse des températures en ce début de semaine. Bon lundi à tous ! 🎐
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Cinquante-trois relais du Tokaido
Shono, Pluie d'orage (46e vue)
Utagawa Hiroshige (1797-1858)
Japon, époque d’Edo, vers 1833-1834
Editeur : Takenouchi Magohachi (Hôeidô)
Impression polychrome nishiki-e, format oban horizontal (env. 25 x 36 cm)
Fondation Jerzy Leskowicz, collection Leskowicz
© Fondation Jerzy Leskowic
Everyone’s talking about the #Superbowl today, so here’s a superb owl from the collection! 🦉🏈

This sleepy owl was made in the 19th century by Japanese artist Utagawa Hiroshige. The inscription is a haiku written in cursive script, which roughly translates as:

‘The old maple 
looks rosy and refreshed
from end to end.’

Hiroshige designed at least two prints with anwl taking a nap, so it seems to have been a popular theme http://ow.ly/A2vt30nvCNl






廣重TOKYO 名所江戶百景:與浮世繪大師一同尋訪今日東京的昔日名勝
廣重 Tokyo  名所江戶百景

廣重TOKYO 名所江戶百景:與浮世繪大師一同尋訪今日東京的昔日名勝

広重TOKYO 名所江戸百景

台灣這本書,缺點之一是消滅"江戶",用"Tokyo" 取代。
西方可能有好幾本廣重江戶 名所將護百景。印刷更豪華。
然而,《廣重 Tokyo  名所江戶百景》說明更好。
舉一例:

剛剛
 
分享對象:公開
公開
湯島聖堂;昌平橋聖堂神田川 廣重 名所江戸百図1857;胡適海外買書記 湯島聖堂 1953;漢寶德 東京孔廟 198?










★2018浮世繪名師歌川廣重逝世160周年紀念★
從對景物的描寫,一睹日本版畫藝術的巔峰
完整收錄歌川廣重晚年代表作《名所江戶百景》全系列119幅作品與解說
一場超越時空的江戶風景之旅,帶你重遊幕末江戶的名勝美景
發掘畫作背後的歷史足跡與趣聞軼事
【記錄幕末風景的代表性繪師——歌川廣重】
  出生於消防世家的歌川廣重(1797-1858)於15歲時開始學習繪畫,擅於寫生的他在作品中除了風景,也記錄下百姓的日常生活,並善用多種技巧呈現鮮明的季節變換,讓人彷彿穿越時空,身歷其境。描寫了東海道(連通江戶與京都的主要幹道)沿途宿場(類似驛站)風景的《東海道五拾三次之內》系列堪稱其不朽名作,《名所江戶百景》則是廣重晚年剃髮出家後另一創作巔峰,在民眾間廣受好評,是當時與葛飾北齋(1760-1849)齊名的風景版畫大師。
【透過遊覽紙上名勝,輕鬆探索浮世繪的奧妙】
◆品味平易近人卻匠心獨具的浮世繪藝術
  起源於17世紀的浮世繪是足以代表日本傳統藝術文化的繪畫形式,舉凡人物、風景、歷史和戲劇,人世間的生活百態都可以是浮世繪的表現題材。由於可以大量印刷而在大眾間迅速普及,並於江戶時代迎來鼎盛期。其中在19世紀初以葛飾北齋的名作《富嶽三十六景》為首開始盛行稱為「名所繪」的風景畫形式,不僅滿足了當時與遊山玩水無緣的百姓對名山秀水的憧憬,也作為一種旅遊導覽而廣受歡迎。浮世繪鮮活、不受拘束又極具感染力的藝術風格,甚至遠渡重洋引起不少西方畫家與藝術愛好者的熱烈追捧;其製作工藝之精,表現範圍之廣,至今仍值得人們去細細琢磨。
◆收錄江戶各地季節美景的《名所江戶百景》系列
  由廣重創作的《名所江戶百景》描繪了江戶在不同季節的風景名勝,堪稱是名所繪中完成度最高的作品。變化多端的視角與遠近景的極端取捨在視覺上帶來全新的體驗,同時活用多種木版印刷技法,營造出光影甚至是凹凸變化,讓畫面更顯生動,令人不禁讚嘆製作者的巧思。書中所收皆出自20世紀日本商人原安三郎的收藏,包含梵谷曾臨摹的〈大橋安宅夕立〉、〈龜戶梅屋舖〉在內,全都是珍貴且保存狀態極佳的初摺(首批印刷的版本)版畫,比起為節省工時而在色彩表現上變得相對簡略的後摺(再刷版本),更能完整呈現繪師最原始的創作初衷。
【跟隨浮世繪大師的視角,看見今日東京的昔日風情】
◆淺草、上野、日本橋、新宿……發掘近代東京的風景變遷,旅行風光趣味倍增
  書中除了帶領讀者欣賞廣重的構圖和色彩細節,也解說與景物相關的由來典故,並將這些場所按照地區分類,搭配現代地圖及照片,以便讀者實際前往探訪至今留存在東京某處的江戶遺址,進而發現人們熟悉的「TOKYO」與眾不同的一面。
◆尋訪凝聚於廣重筆下的江戶人情百景
  廣重生活的江戶並不總是風光明媚,生活上多有辛苦。然而他所描繪的江戶卻是如此愜意優美,不但沒有表現出逆境,更能透過觀察風景中的人物找到幾分樂趣。不論是船上只有剪影的藝伎、與小狗玩耍的孩童還是高掛空中的風箏,每一幅景色與人物都有獨自的寓意,成為作品最耐人尋味之處。讀者不妨從細部觀察,找出對作品獨到的見解與詮釋。
本書特色
  ◆台灣第一本介紹歌川廣重作品的入門書籍,全彩收錄119幅初版印刷的《名所江戶百景》+目錄,完整解說畫中景物、相關典故及使用技法
  ◆全圖附加作品所描繪地點的地圖與照片,感受對照今昔的樂趣
  ◆鑑賞浮世繪不可不知的基礎知識與技法入門
  ◆本書裝訂採用PUR膠裝,使書冊能夠平整地展開於桌面上,更便於讀者閱讀與賞析

作者介紹

作者簡介

小池滿紀子 Koike Makiko


  生於山梨縣,畢業於都留文科大學文學部國文系。曾任櫛形町立春仙美術館(現南阿爾卑斯市立美術館)學藝員,現任中外產業株式會社美術負責人、公益社團法人川崎砂子之里資料館理事、國際浮世繪學會理事。共著及論文有《日本近代繪畫》(Brain出版)、〈甲州谷村的浮世繪〉(《浮世繪的現在》,勉誠出版)、《月岡芳年 魁題百撰相》(二玄社)、〈浮世繪中的川崎與高僧〉(《同行二人》,Art Days)等。主要負責策劃的展覽有「橫濱浮世繪」展(橫濱高島屋)、「原安三郎藏品  廣重Vivid」展(三得利美術館及其他)等。

池田芙美 Ikeda Fumi 

  生於福岡縣,三得利美術館學藝員。東京大學人文社會系研究科碩士。二〇〇八年起擔任現職,專門研究日本近世繪畫史。主要論文有〈英一蝶《四季日待圖卷》釋義〉(《風俗繪畫的文化學II》,思文閣出版)。主要負責策展的展出有「歌麿、寫樂的幕後推手  其名為蔦屋重三郎」展、「老爺和狗都去旅行  廣重.東海道五拾三次——以保永堂版.隸書版為中心——」展、「逆境的繪師  久隅守景  對熟悉之物的視線」展、「原安三郎藏品  廣重Vivid」展等。二〇一三年獲得第二十回鹿島美術財團賞。

譯者簡介

黃友玫


  一九七四年生,畢業於日本愛知縣立藝術大學,主修多媒體設計;作品曾獲選為愛知縣長久手町文化之家舞臺布幔。現為專職翻譯,具有日文檢定一級資格,及中國生產力中心「中日同步口譯研習班」結業。

  譯有藝術大師世紀畫廊叢書多本,《不為設計而設計=最好的設計》、《繪畫的教室》、《問出世界名畫大秘密》、《安野光雅寫給大家的七堂繪畫課》、《有故事的昭和現代建築(西日本篇)》、《美術館,原來如此》等。

目錄

《名所江戶百景》——廣重生活的江戶
如何使用本書

日本橋‧霞之關一帶
日本橋雪晴
日本橋江戶橋
駿河町
日本橋通一丁目略圖
八見橋
鎧之渡船頭小網町
大傳馬町木棉店
大傳馬町吳服店
神田紺屋町
馬喰町初音馬場
市中繁榮七夕祭
京橋竹河岸
比丘尼橋雪中
山下町日比谷外櫻田
外櫻田弁慶堀糀町
糀町一丁目山王祭遊行
霞之關
虎之門外葵坂
赤坂桐畑雨中夕景
赤坂桐畑
紀伊國坂赤坂溜池遠景
市谷八幡

兩國‧淺草‧上野一帶
兩國橋大川端
兩國花火
淺草川大川端宮戶川
兩國回向院元柳橋
淺草川首尾之松御廄河岸
御廄河岸
駒形堂吾嬬橋
吾妻橋金龍山遠望
淺草金龍山
真乳山山谷堀夜景
墨田河橋場渡船頭瓦窯
猿若町夜景
吉原日本堤
廓中東雲
淺草田甫酉之町詣
上野清水堂不忍池
上野山內月之松
上野山下
下谷廣小路
湯島天神坂上眺望
神田明神曙之景
筋違內八小路
昌平橋聖堂神田川
水道橋駿河台
千駄木團子坂花屋敷
日暮里寺院林泉
日暮里諏訪台
簑輪金杉三河島

佃島‧深川‧向島一帶
永代橋佃島
佃島住吉祭
鐵炮洲築地門跡
鐵炮洲稻荷橋湊神社
三叉分流處
大橋安宅夕立
深川萬年橋
深川八幡山開
深川三十三間堂
深川木場
深川洲崎十萬坪
砂村元八幡
小奈木川五本松
五百羅漢榮螺堂
中川口
逆井渡口
龜戶天神境內
龜戶梅屋舖
吾嬬之森連理梓
柳島
小梅堤
請地秋葉境內

品川‧大森‧目黑‧新宿一帶
愛宕下藪小路
芝愛宕山
芝浦風景
增上寺塔赤羽根
芝神明增上寺
金杉橋芝浦
高輪牛町
月之岬
品川洲崎
品川御殿山
南品川鮫洲海岸
八景坂鎧掛松
蒲田梅園
羽田渡口弁天神社
千束之池袈裟懸松
目黑元不二
目黑新富士
目黑爺爺茶屋
目黑千代池
目黑太鼓橋夕日之岡
廣尾古川
四之谷內藤新宿
玉川堤之花
角筈熊野十二社俗稱十二所
高田馬場
高田姿見橋俤之橋砂利場
關口上水端芭蕉庵椿山
井之頭之池弁天神社

江戶川‧隅田川上游‧王子一帶
真間紅葉手古那神社繼橋
鴻之台利根川風景
利根川分散松
堀江貓實
由真崎邊看水神之森內川關屋之里圖
隅田川水神之森真崎
木母寺內川御前栽畑
綾瀨川鐘之淵
堀切菖蒲園
四之木通用水引舟
新宿渡口
千住大橋
川口渡口善光寺
飛鳥山北眺望
王子音無川堰埭世俗稱大瀧
王子不動之瀧
王子瀧之川
王子稻荷社
王子裝束榎木大晦日狐火

目錄 一立齋廣重一世一代  江戶百景

浮世繪  技法解說
原安三郎與浮世繪收藏
歌川廣重



Considered the last great master of the ukiyo-e genre (“pictures of the floating world”), the Japanese artist Utagawa Hiroshige (1797–1858) was a hugely influential figure, not only in his homeland but also on Western painting.
Towards the end of the nineteenth century, as a part of the trend in “Japonism”, European artists such as Monet, Whistler, and Cézanne, looked to Hiroshige’s work for inspiration, and a certain Vincent van Gogh was known to paint copies of his prints.
Hiroshige was born in 1797 to a samurai family in Edo (modern Tokyo).
After his parents died, around the age of fourteen, Hiroshige began to take up painting and studied for several years under the artist Toyohiro. During this period he produced many works reflecting traditional ukiyo-e themes such as women and actors, but upon Toyohiro’s death in 1928 he underwent a pronounced shift toward the landscapes for which he is best known today, as well as bird and flower images. His most famous series include Famous Views of the Eastern Capital (1831), The Fifty-three Stations of the Tōkaidō (1833–1834), The Sixty-nine Stations of the Kisokaidō (1834–1842) and Thirty-six Views of Mount Fuji (1852–1858).
In 1856, around the age of 60, Hiroshige “retired from the world”, becoming a Buddhist monk. Two years later he passed away (during the great Edo cholera epidemic, though it’s not known if this was the cause of death) and was buried in a Zen temple in Asakusa. Just before his passing, he wrote the following poem:
I leave my brush in the East
And set forth on my journey.
I shall see the famous places in the Western Land.