月岡芳年 Tsukioka Yoshitoshi(1839-1892)
  • 月岡芳年 Tsukioka Yoshitoshi(1839-1892)

    魁題百撰相 相良遠江守

    Sagara Tōtomi no Kami peering over pile of mats, from the series of Selection of 100 Warriors

     

    1868

     

    木版画 | 纵绘大判 | 37cm x 25cm

    Woodblock-print | Oban tate-e | 37cm x 25cm

     

    月冈芳年职业早期创作了许多以暴力美学着称的“残酷绘”,也叫“无惨绘”,以乱世、权力斗争与歌舞伎的残酷场面为主。《魁题百撰相》便是他“无惨绘”的系列代表作之一,创作了100位横跨南北朝时代至江户时代的历史人物,及背后的100场战争。说是“百撰相”,但只有65幅作品正式出版。

    相良远江守,又名相良武任,是日本战国时代的武将,大内义隆的家臣,负责政务,并由于出色的行政能力深受义隆信任,也因此与武功派的陶晴贤交恶,两派对立。往后十年,更是几经出走,但都被接回大内家。

    天文20年(1551)8月20日,陶隆房起兵谋反,历称“大宁寺之变”。相良武任和衫与连一起固守筑前花尾城,陶隆房的手下野上房忠则负责攻陷花尾城。最后守城失败,两人传说一起战死了。

    此画便是描绘相良武任战死前拿刀守城的画面。画中的他俯身半埋伏于屋檐后面,左手手指紧扣檐角,右手举着武士刀,眉头紧锁,坚定地目视前方,好似准备随时冲锋作战。整幅画最吸睛的地方在于他眉眼之处,芳年只设计了武任半露的脸,却赋予了双眼100%的力量,他的眼神是如此的坚定纯澈。此外, 拓印师在眼周处使用多色套印技法增加了蓝色颜料,一股冷峻的杀气呼之欲出,这是武士战死沙场前的一腔孤勇。

    Tsukioka Yoshitoshi, considered by many to be the last great Ukiyo-e artist, created many so-called "cruel paintings." They depicted violent scenes of troubled times and power struggles. This is one of his masterpieces in the series, "A Selection of 100 Warriors," which portrayed heroic and usually tragic fighting men from history. Only 65 works are known to have been published in the series.

    Sagara Tōtomi, also known as Sagara Taketo, was a loyal retainer of Yoshitaka Ouchi, the lord in charge of the province of Yamaguchi in the south of Japan. He was trusted by Yoshitaka because of his excellent administrative ability. At the time, Yoshitaka wanted his clan to live peacefully in Yamaguchi, as did Tōtomi, but other retainers wanted the clan to expand. A brief war broke out between the two factions in 1551. 

    The faction preaching expansion quickly won, and Yoshitaka was forced to commit ritual suicide, or seppuku. Tōtomi was killed in the battle.

    This print depicts Tōtomi holding a katana while hiding behind a pile of straw mats. His face is half-obscured -- a bold design choice -- his left hand tightly clasps the top mat, his right hand holds the sword, his brows are furrowed and his eyes stare straight ahead, as if he is ready to charge at any time. His eyes are indeed the most dramatic part of the design: Yoshitoshi uses multi-color overprinting technique to add blue pigment, giving them a cold, murderous aura. Hiding most of the subject's face allows Yoshitoshi to give the eyes even more power -- it is like we can look through them into Tōtomi's soul. This is the loneliness of the hero before his death in battle.

     

    品相非常好;经修剪

    Very good condition; trimmed

     

    可售

    Available