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TSUKIOKA YOSHITOSHI: PRIEST RAIGO OF MIIDERA TRANSFORMED BY WICKED THOUGHTS INTO A RAT
奥地利
06月13日 下午4点 开拍 / 06月11日 下午3点 截止委托
拍品描述
TSUKIOKA YOSHITOSHI: PRIEST RAIGO OF MIIDERA TRANSFORMED BY WICKED THOUGHTS INTO A RATBy Tsukioka Yoshitoshi (1839-1892), signed Yoshitoshi ga with seal TaisoJapan, dated 1891Color woodblock print on paper. Vertical oban. Signed Yoshitoshi ga with seal Taiso; publisher Sasaki Toyokichi. Title Miidera Raigo Ajari no Akunen Nezumi to Henzuru zu (Priest Raigo of Miidera Transformed by Wicked Thoughts into a Rat), from the series Shinken sanjuroku kaisen (Thirty-Six New Forms of Ghosts). Illustrating Priest Raigo of Mii Temple after transforming into a vengeful, partly human rat, still wearing his priestly robes and surrounded by other gray rats tearing through the emperor’s treasures. SIZE of the sheet 37.1 x 25.1 cmCondition: Very good condition with minor wear and slight fading to the colors. The sheet with a fold at the center. The spirit of the vengeful priest Raigo turning into a thousand rats and infesting Mii Temple is adapted from an episode in The Tale of the Heike (Heike monogatari). Raigo had been a member of the influential Fujiwara family and was a spiritual advisor to Emperor Shirakawa (1053-1159). After Raigo's guidance produced the birth of a male offspring, Prince Atsuhisa, Shirakawa offered Raigo anything he wanted as a reward. Raigo asked not for himself but for a raised platform on which prayers could be offered at his temple. The Emperor, leery of empowering the temple, reneged on his promise and refused Raigo's request. Infuriated, the now vengeful Raigo went on a hunger strike and ignored the Emperor's many attempts at reconciliation. After his death, Raigo's ghostly visage appeared by little Atsuhisa's bedside and damned the Prince to die, before the spirit turned into the many rats and inundated the temple.Monastic politics were of great concern to the secular leaders of medieval Japan. Monastic orders in their mountain temples were often paramilitary organizations whose monks were referred to as yamabushi (mountain warriors). While some were fiercely independent and concerned with self-defense, others were aligned with daimyo and often consequential in determining the balance of power between different lords and families.Yoshitoshi's last woodblock series, Thirty-Six New Forms of Ghosts, draws on an array of supernatural tales from both China and Japan. The images depict the weird, wonderful, and sinister ghost stories that were widely told among the Japanese population. Interestingly, this series was produced at a time when the Meiji government actively discouraged anything that contradicted Western science and rationality, leading some critics to regard this series as a criticism of the government's new ideology.Ghost stories have long been a rich source of subject for kabuki plays and Noh, which in turn would inspire ukiyo-e artists in their print making. Several of the subjects for the Thirty-six Ghosts were taken directly from Noh, whereas many more of prints were based on stories from kabuki plays.Tsukioka Yoshitoshi (1839-1892) was one of the leading woodblock print artists during the Meiji era (1868-1912) and one of the last to work in the traditional ukiyo-e manner. Born in Edo (today’s Tokyo), he showed a strong interest in classical Japanese literature and history. When he was 11, he became a student at Kuniyoshi Utagawa’s studio. Under his teacher’s guidance, he showed exquisite draftsmanship skills and learned how to draw from life, something not necessarily part of the training schools of painting and illustration in Japan.Museum comparison:A closely related print is in the Ashmolean Museum, Oxford, accession number EA1971.187.

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