| 中文版 English

具体要求

其它要求

-
关闭
KATSUSHIKA HOKUSAI (1760-1849)
美国 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 翻译
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

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

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

拍卖公司

Bonhams
地址: 580 Madison Avenue New York NY 10022
电话: +1 212 644 9001
邮编: 10022
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士