#三代豊国

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#Artist: #Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Nakamura Tsuruzō I [中村鶴蔵] as Segizaka Bannai (鷺坂伴内) harassing Koshimoto Okaru (こし元おかる) as performed by Iwai Kumesaburō III [岩井粂三郎] from the #play "Kanadehon #Chūshingura" - possible center panel of a triptych
Dates: 1854
Dimensions: 9.875 in,13.875 in
Medium: #Japanese #woodblock print
Signed: Toyokuni ga (豊国画)
Publisher: Fujiokaya Keijirō
Censor's seal: aratame
Date seal: 5/1854

#art #japanesewoodblockprint #japanesewoodblock #woodblockprint #woodcut #ukiyoe #kabuki #actor

#藤澤浮世絵館 #入場無料
#おまちかね広重の東海道
2017.4.21〜5.28
*。*
写真1枚目
#歌川広重 #大山道中張交図会
張交図(はりまぜず)とは、1枚の中に複数箇所の名所(風景、名産、物語等)を並べたものです。この作品は、日本橋から藤沢までの東海道の各宿場、そして四ツ谷追分から大山まで、大山詣に誘う名所・名物の数々が描かれています。
写真2、3枚目
藤澤浮世絵館からの大山
四ツ谷交差点付近にある大山道標(四谷不動、大山道一の鳥居)
*。*
写真4枚目
#歌川国貞(#三代豊国) #東海道藤沢平塚間四ツ家山帰リ
藤沢平塚宿間の四ツ谷を描いたもので、山帰りとは、大山詣の帰りという意味です。描かれた画は、八代目#市川団十郎#歌舞伎舞踊 山帰りです。
*
江戸時代、富士や伊勢より気軽に参詣できた大山は、武将から庶民まで幅広く親しまれました。特に石尊大権現に因んで、水や石に由縁深い職を生業とする火消し、鳶、大工、刀鍛冶といった職人たちは、徐災招福を願い多く訪れたそうです。
*
さらに、歌舞伎役者が鳶や火消し等に扮し大山詣を描いた浮世絵は、人気を博したそうです。こうした縁もあり、大山は芸能のご利益があるとされ、芸能関係の人々も多く参拝しました。
写真5枚目
大山道一の鳥居(山帰りの方向から)
*。*
写真6枚目
四ツ谷交差点手前の道路標識(江の島方向)
大山詣後は、ほど近い風光明媚な江の島、鎌倉、金沢八景などで精進落としと称し、特に江の島は女神弁財天の存在から、男神である大山だけを参拝することを忌む俗言が宣伝され、双方への参拝が流行しました。
写真7〜10枚目
歌川広重 #六十余州名所図会相模江之嶋岩屋ノ口
歌川国貞(三代豊国) #江之嶋乃景
歌川広重 #相州江之嶋之図
*。*

#Artist: Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Bandō Hikosaburō IV (坂東彦三郎) on right as Ryoshi Tsunazo (猟師綱蔵) and Onoe Tamizō (尾上多見蔵) as a long necked #monster disguised as the koshimoto Otsuru ( 腰元おつる). From the play The Long-necked #Ghost (Rokorokubi Ōatari - ろくろ首大あたり)
Dates: circa 1830 - 1835
Dimensions: 19.0 in,14.188 in
Medium: color #woodblock print
Signed: Gototei Kunisada ga
五渡亭国貞画
Publisher: Yamamotoya Heikichi
Censor's seal: kiwame

#ukiyoe #ghosts #ghoststory #kabuki #actor #japan #Japanese #japaneseprint #japanesewoodblock #woodcut #woodblock #woodblockprint

#Artist: #Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Ōmori Hikoshichi (大森彦七) carries a demon disguised as a beautiful woman
Dates: circa 1843 - 1846
Dimensions: 9.75 in,14.0 in
Medium: Japanese color woodblock print
Signed: Kōchō(rō) Kunisada ga
Publisher: Moritaya Hanzō
Censor's seal: kiwame in the yellow cartouche
Censor's seal: Hama (1843-46) in the lower left of the print

Physical description:
“Omori Hikoshichi (lived about 1340), a vassal of Shogun Ashikaga Takaugi (1305-58), offered to assist a beautiful maiden on her way to a celebration of his victory of Emperor Go Daigo (reigned 1319-38). As he gallantly carried her across a stream, Omori glanced at her reflection in the water and saw that she had turned into a witch, whereupon he slew her with his sword.” Quoted from: Netsuke: Masterpieces from the Metropolitan Museum of Art by Barbra Teri Okada, 1982, p. 32.

It should be noted that there are numerous, divergent variations of this tale and that the woman did not necessarily turn into a 'witch' but already was one revealed only through her reflection.

The uroko gata or triangular blue and white snake-scale pattern of the demon's billowing garment might be a visual give-away as to her true nature.

There is a Hama censor seal inscribed in the lower left gray background which indicates this is a re-issue of the original circa 1832 edition published by Moritaya Hanzō. Since Moritaya ceased business around 1835, we are uncertain who published this example (from the original blocks). Perhaps Ebisuya (Ebisuya Shōchichi - Marks 039) as the vendor cited.

#japanesewoodblockprint #japaneseprint #woodblockprint #woodcut #ukiyoe #demon #demons #witch

#Artist: #Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Ichikawa Ebizō V as the Mystical Image (Reizō - 霊像) of #Fudō #Myōō ( #不動明王 ), Ichikawa Saruzō I as Kongara dōji (矜迦羅童子), and Ichikawa Komazō VII as Seitaka dōji (制吒迦童子), No. 9 (九) from the series Eighteen Great #Kabuki Plays (Jūhachiban no uchi -十八番の内)
Dates: 1852
Dimensions: 10.0 in,14.25 in
Medium: Japanese color #woodblock print
Signed: Kōchōrō Toyokuni hitsu
香蝶楼豊国筆
Artist's seal: toshidama (in red)
Publisher: Ebisuya Shōshichi
Date seal: 3/1852
Censor seals: Mera and Watanabe

Physical description:
"Fudō Myōō, seated on a rock throne (iwa-za [岩座]), holds a lasso (saku [索]) in his [left] hand and a #sword [koken] in his [right]. His #flame kōhai envelops his entire body..." #ukiyoe #woodcut #woodblockprint #japanesewoodblockprint #japanesewoodblock #japaneseprint #buddhist #buddhism

MOST RECENT

私が愛して止まない浮世絵師「豊原国周(とよはらくにちか)」😄
彼の展覧会が千葉/成田で開催されているとの事で、一路成田へ❗😆はじめて国周ONLYの展覧会😆
月岡芳年、小林清親と共に「明治の三傑」や「最後の浮世絵師」の異名をとっていますが、上記の二人に比べ正当な評価がなされておらず知名度は低いのが現状です💦
その原因として、作品のほとんどが歌舞伎役者の似顔絵ばかりなので、芳年や清親に比べ、西洋からの影響も少なく、新時代(明治時代)の浮世絵と呼ぶには説得力が欠けてしまう点にあるかと思います😵
しかし国周の技量は確かなもので、伝統的な役者絵の様式をしっかり守り抜き、その豪快な筆遣いや、画面いっぱい役者の顔を描いた迫力満点の「大顔絵」を考案し、低迷気味だった明治時代の歌舞伎界の復活に大きく貢献し「明治の写楽」と呼ばれました😄
因みに私のプロフィール画像の歌舞伎役者絵風のイラスト(←自分で描きました❗)は、国周に影響されて描いたものです(笑)😆
いやあ、ホント迫力の役者絵の数々❗大いに堪能できました😄
#江戸を感じる#浮世絵#UKIYOE#PrintOfKabukiActors#kunichikaToyohara#豊原国周#豊原国周役者絵の世界#Kabuki#ActorPrint#役者絵#歌舞伎役者絵#歌舞伎#成田市文化芸術センター#明治の写楽#写楽#月岡芳年#小林清親#歌川派#歌川豊国#三代豊国#歌川国貞#ヨイ豊#八十八#市川團十郎#9代目市川團十郎

#藤澤浮世絵館 #入場無料
#おまちかね広重の東海道
2017.4.21〜5.28
*。*
写真1枚目
#歌川広重 #大山道中張交図会
張交図(はりまぜず)とは、1枚の中に複数箇所の名所(風景、名産、物語等)を並べたものです。この作品は、日本橋から藤沢までの東海道の各宿場、そして四ツ谷追分から大山まで、大山詣に誘う名所・名物の数々が描かれています。
写真2、3枚目
藤澤浮世絵館からの大山
四ツ谷交差点付近にある大山道標(四谷不動、大山道一の鳥居)
*。*
写真4枚目
#歌川国貞(#三代豊国) #東海道藤沢平塚間四ツ家山帰リ
藤沢平塚宿間の四ツ谷を描いたもので、山帰りとは、大山詣の帰りという意味です。描かれた画は、八代目#市川団十郎#歌舞伎舞踊 山帰りです。
*
江戸時代、富士や伊勢より気軽に参詣できた大山は、武将から庶民まで幅広く親しまれました。特に石尊大権現に因んで、水や石に由縁深い職を生業とする火消し、鳶、大工、刀鍛冶といった職人たちは、徐災招福を願い多く訪れたそうです。
*
さらに、歌舞伎役者が鳶や火消し等に扮し大山詣を描いた浮世絵は、人気を博したそうです。こうした縁もあり、大山は芸能のご利益があるとされ、芸能関係の人々も多く参拝しました。
写真5枚目
大山道一の鳥居(山帰りの方向から)
*。*
写真6枚目
四ツ谷交差点手前の道路標識(江の島方向)
大山詣後は、ほど近い風光明媚な江の島、鎌倉、金沢八景などで精進落としと称し、特に江の島は女神弁財天の存在から、男神である大山だけを参拝することを忌む俗言が宣伝され、双方への参拝が流行しました。
写真7〜10枚目
歌川広重 #六十余州名所図会相模江之嶋岩屋ノ口
歌川国貞(三代豊国) #江之嶋乃景
歌川広重 #相州江之嶋之図
*。*

『北廓月の夜桜』
歌川国貞(三代豊国) 1786~1864
Cherry blooms in the moonlight
in the Yoshiwara pleasure district
🌸🌸🌸🌸🌸🌸
#utagawakunisada #edopriod #19century #ukiyoe #nishikie #edo #art #Japaneseart #traditionalart #toyokuni #cherryblossom #fullmoon #moonlight #浮世絵 #錦絵 #江戸時代 #吉原 #遊廓 #歌川国貞 #三代豊国 #浮世絵師 #北廓月の夜桜 #夜桜 #満月

ヨイ豐
「歌川豊国」の名前を巡ったお家騒動的物語
2代目歌川国貞こと、「清太郎」と後の豊原国周。
喧嘩しながらも仲の良い兄弟弟子の友情が泣けてくる。
あと、浮世絵がいかにして作られていくか、凄くよく解る。
幕末から明治の文明開化の中、衰退していく浮世絵。
芸術とは何か?
職人とは?
娯楽とは?
色な事を考えれる作品
#ヨイ豐
#books #book #novel #歌川広重 #歌川豊国 #三代豊国 #歌川国貞 #豊原国周 #川鍋暁斎 #明治 #幕末

#Artist: #Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Nakamura Tsuruzō I [中村鶴蔵] as Segizaka Bannai (鷺坂伴内) harassing Koshimoto Okaru (こし元おかる) as performed by Iwai Kumesaburō III [岩井粂三郎] from the #play "Kanadehon #Chūshingura" - possible center panel of a triptych
Dates: 1854
Dimensions: 9.875 in,13.875 in
Medium: #Japanese #woodblock print
Signed: Toyokuni ga (豊国画)
Publisher: Fujiokaya Keijirō
Censor's seal: aratame
Date seal: 5/1854

#art #japanesewoodblockprint #japanesewoodblock #woodblockprint #woodcut #ukiyoe #kabuki #actor

#Artist: #Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Ōmori Hikoshichi (大森彦七) carries a demon disguised as a beautiful woman
Dates: circa 1843 - 1846
Dimensions: 9.75 in,14.0 in
Medium: Japanese color woodblock print
Signed: Kōchō(rō) Kunisada ga
Publisher: Moritaya Hanzō
Censor's seal: kiwame in the yellow cartouche
Censor's seal: Hama (1843-46) in the lower left of the print

Physical description:
“Omori Hikoshichi (lived about 1340), a vassal of Shogun Ashikaga Takaugi (1305-58), offered to assist a beautiful maiden on her way to a celebration of his victory of Emperor Go Daigo (reigned 1319-38). As he gallantly carried her across a stream, Omori glanced at her reflection in the water and saw that she had turned into a witch, whereupon he slew her with his sword.” Quoted from: Netsuke: Masterpieces from the Metropolitan Museum of Art by Barbra Teri Okada, 1982, p. 32.

It should be noted that there are numerous, divergent variations of this tale and that the woman did not necessarily turn into a 'witch' but already was one revealed only through her reflection.

The uroko gata or triangular blue and white snake-scale pattern of the demon's billowing garment might be a visual give-away as to her true nature.

There is a Hama censor seal inscribed in the lower left gray background which indicates this is a re-issue of the original circa 1832 edition published by Moritaya Hanzō. Since Moritaya ceased business around 1835, we are uncertain who published this example (from the original blocks). Perhaps Ebisuya (Ebisuya Shōchichi - Marks 039) as the vendor cited.

#japanesewoodblockprint #japaneseprint #woodblockprint #woodcut #ukiyoe #demon #demons #witch

#Artist: Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Bandō Hikosaburō IV (坂東彦三郎) on right as Ryoshi Tsunazo (猟師綱蔵) and Onoe Tamizō (尾上多見蔵) as a long necked #monster disguised as the koshimoto Otsuru ( 腰元おつる). From the play The Long-necked #Ghost (Rokorokubi Ōatari - ろくろ首大あたり)
Dates: circa 1830 - 1835
Dimensions: 19.0 in,14.188 in
Medium: color #woodblock print
Signed: Gototei Kunisada ga
五渡亭国貞画
Publisher: Yamamotoya Heikichi
Censor's seal: kiwame

#ukiyoe #ghosts #ghoststory #kabuki #actor #japan #Japanese #japaneseprint #japanesewoodblock #woodcut #woodblock #woodblockprint

#Artist: Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: Series title: The Five #Chivalrous #Commoners in #Summer #Kimono (Gonin otoko soroi no #yukata - 五人男揃浴衣) - four of these panels shown here
Dates: 1861
Dimensions: 9.75 in,14.25 in
Medium: color woodblock
Signed: Konomi ni makasete Toyokuni ga (From my own taste, Toyokuni painted)
任好豊国画 Publisher: Izutsuya Shōkichi
Censor seal: aratame-date combined for 1861, 5th month
Carver: Horikō Shinchō

Physical description:
The Lyon Collection owns four sheets of this five-panel series of actors as otokodate by Toyokuni III.

The crest of each artist not only appears on their individual robes, but also in the decorations surrounding the title cartouche. For example, the print on the far right uses a tomo-e or triple comma motif.

1. The image on the far right is of Nakamura Shikan IV (四代目中村芝翫) as Kaminari Shōkurō (雷庄九郎). On his robe is an image of a fierce wolf, storm clouds and several lightning bolts.

2. Second from the right is Sawamura Tanosuke III (三代目沢村田之助) as Karigane Bunshichi (雁金文七). His robe shows geese in flight.

3. Second from left - Ichikawa Ichizō III (三代目市川市蔵) as Hotei Ichiemon (布袋市右衛門). His crest is made up of the seven sacred jewels. The largest element on his robe is a hat worn during a specific religious festival.

4. Far left - Kawarazaki Gonjū

#ukiyoe #japanesewoodblockprint #japanesewoodblock #japaneseprint #woodblockprint #woodcut #woodblock #actor #kabuki

#Artist: #Utagawa #Kunisada ( #歌川国貞 ) / #Toyokuni III ( #三代豊国 )
#Print: A #beautiful, #elegant #woman standing outside the entry to a building
Dates: circa 1822
Dimensions: 9.5 in,15.0 in
Medium: #Japanese color #woodblock print
Signature: Gototei Kunisada ga
五渡亭国貞画
Publisher: Yamamotoya Heikichi
Censor's seal: kiwame

Physical description:
Kunisada's #women from the 1820s are often #stooped over somewhat. He may have borrowed this design element from the #prints of #Eisen.

You will notice a large #insect, probably a #beetle, either on the #bijin's #undergarment #decorated with intertwined blue swastikas - a common and positive motif - or as part of the decoration of the under-robe. The former is more likely. That is, this is an insect that has found its way to her collar. However, if it is a beetle that has landed there then this is a very rare design indeed. The use of butterflies and dragonflies and such are not uncommon, but this occurrence is. Perhaps it has been inserted into this image to add just one more element of reality.

#ukiyoe #blockprint #woodcut #japanesewoodblockprint #japaneseprint #japanesewoodblock #woodblockprint #bug

別館入り口に、版画が貼ってあって一瞬ビビった。
父が、額から版画を剥がしてガラス戸で乾かしてた、、(ー ー;)
#江戸 #版画 #浮世絵 #三代豊国 #歌川国貞 #ukiyo-e #骨董 #和骨董 #ART #絵画

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