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TSUKIOKA YOSHITOSHI: THE HEAVY BASKET
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 翻译
TSUKIOKA YOSHITOSHI: THE HEAVY BASKETBy Tsukioka Yoshitoshi (1839-1892), signed Yoshitoshi with seal Japan, dated 1892Color woodblock print on paper. Vertical oban. Signed Yoshitoshi with seal; publisher Sasaki Toyokichi. Title Omoi tsuzura (The Heavy Basket), from the series Shinken sanjuroku kaisen (Thirty-Six New Forms of Ghosts). Depicting the climactic scene from the folklore The Tongue-Cut Sparrow (Shita-kiri Suzume) when the greedy old woman's avarice leads to her downfall, as supernatural creatures burst forth from a mysterious wicker basket. SIZE of the sheet 37.3 x 25.5 cm Condition: Very good condition with minor wear, some fading to colors, and slight browning to paper. The outer edges with small losses. The tale of the Tongue-Cut Sparrow follows a spiteful old woman named Ara, her neighbor, a kind old man, named Nasakeji, and a small sparrow named Bidori. Nasakeji had a fondness for sparrows, and in particular loved and cared for the young Bidori. However, one day when Nasakeji was out, Bidori pecked at some of Ara's rice paste, for which she cut out his tongue. In fear and pain the sparrow fled, never to return to the village. Nasakeji searched far and wide for Bidori, until one day they were reunited at the sparrow's forest home. Bidori introduced the man to his family, and shared with him a humble feast. When it was time for Nasakeji to leave, Bidori insisted that he take one of two baskets as a gift. Weighing the two, the man decided to take the smaller, lighter one, and set off homeward. When he returned home and opened the basket, Nasakeji was amazed to find it brimming with gold and jewels. Ara, ever greedy, raced to the forest and insisted the sparrow give her the same choice of baskets. When Bidori calmly obliged, she took the heavier of the two, but was disappointed to discover that it was filled not with treasure but a parade of demons.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 National Gallery of Australia, accession number 2005.1176.Auction comparison: Compare a related print by the same artist at Christie’s, Iconic Prints by Japanese Masters, 21 April 2015, London, lot 89 (sold for GBP 4,000).

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拍品估价:1,000 - 2,000 欧元 起拍价格:1,000 欧元  买家佣金: 35.00%

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