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KATSUSHIKA HOKUSAI (1760-1849)
纽约 北京时间
09月18日 晚上10点 开拍 / 09月16日 下午3点 截止委托
拍品描述
Edo period (1615-1868), circa 1832 The complete series of ōban tate-e prints entitled Shokoku taki meguri (A Tour of Waterfalls in Various Provinces), comprising: (1) Tōkaidō Sakanoshita Kiyotaki Kannon (The Kannon of the Pure Waterfall at Sakanoshita on the Tōkaidō Road); (2) Tōto Aoigaoka no taki (The Falls at Aoigaoka in the Eastern Capital); (3) Kisokaidō Ono no bakufu (The Waterfall at Ono on the Kisokaidō Road); (4) Shimotsuke Kurokamiyama Kirifuri no taki (The Falling Mist Waterfall at Mount Kurokami in Shimotsuke Province); (5) Kisoji no oku Amida-ga-taki (The Amida Falls in the Far Reaches of the Kiso Road); (6) Washū Yoshino Yoshitsune uma arai no taki (Yoshitsune's Horse-washing Falls at Yoshino in Yamato Province); (7) Mino no kuni Yōrō no taki (The Care-of-the-aged Falls in Mino Province); (8) Sōshū Rōben no taki (The Rōben Falls at ōyama in Sagami Province); each signed Saki no Hokusai Iitsu hitsu, published by Nishimuraya Yohachi (Eijudō), with censor's seal kiwame except for Kisoji no oku Amida-ga-taki 15 3/8 x 10 5/8in (39 x 27cm), the largest (8). Footnotes In this masterly set of vertical woodblock-print designs, published shortly after his world-famous image of the "Great Wave," (see lot 506), Hokusai further explores water as a dynamic, cosmic, and spiritual force, a theme he had begun to develop in some of his earlier illustrated books such as Shingata komon-chō (An Album of New Designs, 1824), or the famous Manga (Random Sketches) series, whose initial ten volumes were published from 1814 to 1819. Making liberal use of synthetic Prussian Blue—first imported to Japan only a few years before—in combination with traditional natural yellows, browns, and greens, he created a set of contrasting images whose unusual composition and breathtaking variety have made the possession of all eight "Hokusai Waterfalls," in early impressions and good condition, a goal of serious collectors ever since they first came to global attention in the later decades of the nineteenth century. Not confining himself to views that might have been relatively accessible to his core client base in Edo (present-day Tokyo), Hokusai selected spectacular waterfalls throughout central Honshu (Japan's main island) with a focus on sites of religious pilgrimage associated with legendary figures such as the tragic young warrior-hero Minamoto no Yoshitsune; Amida Nyorai, Lord of the Buddhist Pure Land paradise; the compassionate female bodhisattva Kannon; or immortal beings associated with Shūgendō, an ancient amalgam of beliefs centered on local kami (numina, spirits or divine powers presiding over things or places), gongen (avatars), and religious austerities practiced in mountain locations. Some of the waterfalls have been largely forgotten over the intervening years, but others such as the Kirifuri, the Amida, and the Yōrō are still popular tourist sites. In several prints the waterfall dominates the pictorial space, an approach pioneered two generations earlier by the great Kyoto painter Maruyama ōkyo (1733-1795), in Hokusai's case typically contrasting the majesty (and sound, which we can almost hear roaring in our ears) of nature with the tiny, fragile, human elements that feature in some of the designs. For the two-tier Kirifuri falls, in the mountains of Nikko north of Edo, he made skillful use of outlines and gradations to depict the water hitting a mass of rock, then forming multiple rivulets that run down the face of a lower crag. In other images, but particularly the Yōrō, he depicts the spray created by the water's vigorous fall from a great height in a myriad of tiny circles, quadrilaterals, ovals, and other shapes of white and two shades of blue. For the Amida falls, perhaps the most compositionally daring of the set, the circular gorge above, its outline believed to resemble the head of a Buddha, is depicted as if seen from above, while the cascade itself is viewed from the front. Waterfalls would stay with Hokusai for the rest of his life: painted in 1849 at the age of ninety, one of his most beloved hanging scrolls in the United States shows the Chinese poet Li Bai (in Japanese, Rihaku) admiring a vertical waterfall that towers above him (in the Museum of Fine Arts, Boston, inv. no.11.7452), symbolizing—like the "Great Wave" and the "Tour of Waterfalls in Various Provinces"—man's passive insignificance and active awe in the face of natural grandeur. Prints from this series are in the collections of many museums around the world including the British Museum, the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Art Institute of Chicago, and the Worcester Art Museum, Worcester, Mass., which possesses a complete set of rare, early impressions. For further information about this lot please visit the lot listing

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价格信息

拍品估价:450,000 - 550,000 美元 起拍价格:450,000 美元  买家佣金:
落槌价 佣金比率
0 - 50,000 28.00% + VAT
50,000 - 1,000,000 27.00% + VAT
1,000,000 - 6,000,000 21.00% + VAT
6,000,000 - 以上 14.50% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%,最低200元

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