Shunsho | Jakuren, Sanseki Waka
勝川春章 Katsukawa Shunsho ( 1726–1792）
三夕和歌 寂莲
Jakuren, from the series of Sanseki Waka
1770s
木版画 | 纵绘中判 | 26.5cm × 20cm
Woodblock-print | Chuban tate -e | 26.5cm × 20cm
早期版次；颜色鲜艳；品相非常好；背面上方有先前胶纸粘粘痕迹
Fine impression and color; tape residue verso, otherwise in good condition
$9,000
诗情和画意，自古以来就密不可分。
在和歌的集大成作《新古今和歌集》中，有三首被合称为“三夕”的名作。八百年来，这三首关于“秋之夕暮”的和歌一边被吟唱，一边以各种形式融入了各类画作。
只见本作画面上方云烟中，这首由高僧歌人寂莲（1139？-1202）创作的和歌清晰可见，中文大意为：孤寂本无色，槙立秋山暮色沉。而下方的景色，似乎就是歌词的具象化：开阔的水面紧接着连绵的群山，高大的古松随风轻轻摇曳，使人仿佛穿越进了宋代山水画中。二楼窗台上，两位美人正凭栏远眺。
有赖于极好的品相，我们得以一窥早期浮世绘美人的曼妙。身材娇小的两位小家碧玉面色恬静，直让人心生怜爱，未经层层套色的清丽衣装与景色浑然一体，成了旧时光倩影的最佳诠释。
Interested in purchasing?
Please contact us.
勝川春章 Katsukawa Shunsho ( 1726–1792）
三夕和歌 寂莲
Jakuren, from the series of Sanseki Waka
1770s
木版画 | 纵绘中判 | 26.5cm × 20cm
Woodblock-print | Chuban tate -e | 26.5cm × 20cm
早期版次；颜色鲜艳；品相非常好；背面上方有先前胶纸粘粘痕迹
Fine impression and color; tape residue verso, otherwise in good condition
$9,000
诗情和画意，自古以来就密不可分。
在和歌的集大成作《新古今和歌集》中，有三首被合称为“三夕”的名作。八百年来，这三首关于“秋之夕暮”的和歌一边被吟唱，一边以各种形式融入了各类画作。
只见本作画面上方云烟中，这首由高僧歌人寂莲（1139？-1202）创作的和歌清晰可见，中文大意为：孤寂本无色，槙立秋山暮色沉。而下方的景色，似乎就是歌词的具象化：开阔的水面紧接着连绵的群山，高大的古松随风轻轻摇曳，使人仿佛穿越进了宋代山水画中。二楼窗台上，两位美人正凭栏远眺。
有赖于极好的品相，我们得以一窥早期浮世绘美人的曼妙。身材娇小的两位小家碧玉面色恬静，直让人心生怜爱，未经层层套色的清丽衣装与景色浑然一体，成了旧时光倩影的最佳诠释。
Interested in purchasing?
Please contact us.
勝川春章 Katsukawa Shunsho ( 1726–1792）
三夕和歌 寂莲
Jakuren, from the series of Sanseki Waka
1770s
木版画 | 纵绘中判 | 26.5cm × 20cm
Woodblock-print | Chuban tate -e | 26.5cm × 20cm
早期版次；颜色鲜艳；品相非常好；背面上方有先前胶纸粘粘痕迹
Fine impression and color; tape residue verso, otherwise in good condition
$9,000
诗情和画意，自古以来就密不可分。
在和歌的集大成作《新古今和歌集》中，有三首被合称为“三夕”的名作。八百年来，这三首关于“秋之夕暮”的和歌一边被吟唱，一边以各种形式融入了各类画作。
只见本作画面上方云烟中，这首由高僧歌人寂莲（1139？-1202）创作的和歌清晰可见，中文大意为：孤寂本无色，槙立秋山暮色沉。而下方的景色，似乎就是歌词的具象化：开阔的水面紧接着连绵的群山，高大的古松随风轻轻摇曳，使人仿佛穿越进了宋代山水画中。二楼窗台上，两位美人正凭栏远眺。
有赖于极好的品相，我们得以一窥早期浮世绘美人的曼妙。身材娇小的两位小家碧玉面色恬静，直让人心生怜爱，未经层层套色的清丽衣装与景色浑然一体，成了旧时光倩影的最佳诠释。
Interested in purchasing?
Please contact us.
Katsukawa Shunsho ( 1726–1792）
Katsukawa Shunsho may not be the most well-known name in Ukiyoe, but his impact on the form and its history are immeasurable. He is credited with inventing the genre of actor portrait prints, and his students included none other than Katsushika Hokusai, who probably is the most well-known Japanese woodblock print artist in history.
Born in 1726 at the dawn of the Ukiyoe era, Shunsho initially studied with the Torii school, but soon broke away to form his own school, one that would eventually carry his name.
He invented the idea of Kabuki actor portraits that actually looked like the actors they were depicting. He also produced the first “big head” full-face images. And he showed actors (and all were men, at the time) in their dressing rooms. This was revolutionary because, up until this point, print artists had portrayed the roles played by actors, but not the individual thespians themselves. The ravenous theater-going public ate them up, and a 100-year craze was born.
This is not to discount Shunsho’s portraits of beautiful women (bijin). His were lovely, indeed, and sought after. But for the most part they were paintings, not prints. He only produced a handful of prints of women. He died in 1793.