| 翻訳と辞書 |
| Eijudō Hibino at Seventy-one (Toyokuni I) ： ウィキペディア英語版 |
Eijudō Hibino at Seventy-one (Toyokuni I)
''Eijūdō Hibino at Seventy-one'' is an ''ukiyo-e'' woodblock print dating to around 1799 by Edo period artist Utagawa Toyokuni I. According to its inscription, the print was produced in commemoration of the featured subject, print publisher Nishimuraya Yohachi I's, seventy-first year. The print is part of the permanent collection of the Prince Takamado Gallery of Japan at the Royal Ontario Museum, Canada.
==Utagawa Toyokuni I==
Utagawa Toyokuni (歌川豐國), also known as Toyokuni I, was the second head of the Utagawa school, and one of the most influential and prolific print-makers of the Edo period.〔According to Marks, by the time of his death at age 57, Toyokuni had produced more than 90 print series, over 400 illustrated books, and several hundred single sheet prints. (2010, 96)〕 From early adolescence, he apprenticed with Utagawa Toyoharu,〔Chiappa 2013〕 studying the style of his mentor, as well as those of Chōbunsai Eishi, Utamaro and Eishōsai Chōki.〔Percival 1978, 30〕 He achieved his greatest commercial success within the genres of ''bijinga'' (prints of beautiful women)〔Percival purports that Toyokuni was considered "Utamaro's closest rival in bijinga." (1978, 30)〕 and, more significantly, ''kabuki-e'' and ''yakusha-e'' (kabuki and kabuki actor prints).〔Encyclopaedia Britannica〕 The latter constitute the "overwhelming majority" of his works.〔Marks 2010, 96〕
His style is praised for its "powerful and vivid lines,"〔Encyclopaedia Britannica〕 "striking color contrasts,"〔The Columbia Electronic Encyclopedia〕 "decorative bombast,"〔Lane 1978, 152〕 and "bold, taut designs."〔Newland 2003, 502〕 He is credited with innovating polytych formats,〔Percival 1978, 32〕 and with training prominent pupils, including Kunisada and Kuniyoshi.〔Tazawa 1981, 346〕 The copiousness stemming from his success appears to have taken a toll, however. The contemporary consensus is that the quality of his later work "shows a marked decline,"〔Waterhouse 1975, 200〕 and even "degenerated frequently into sheer grotesquerie."〔Encyclopaedia Britannica〕 Some contend his talent was "predominantly imitative,"〔Lane 1978, 151〕 resulting more from study than "intuitive genius."〔Chiappa 2012〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「Eijudō Hibino at Seventy-one (Toyokuni I)」の詳細全文を読む
スポンサード リンク
| 翻訳と辞書 : 翻訳のためのインターネットリソース |
Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.
|
|