RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts

RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts

RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts
Edo Daisetsuyo Kaidaigura- Volume 1. The almanac with preface dated. Table of contents, 16 double-page color (5 maps and 11 of famous places and festivals), 10 double-page black and white aerial views of famous places, 183 pages of mixed text and illustration. Please note that back of some of the pages, such as some of the color woodcuts, don't have print. Block book with thread binding.

Good impressions and color, losses and heavy soiling to covers, some soiling, stains, creases, tears and some paper loss to illustrations, fair condition overall. Measures: 10.5" Tall by 7.5" Wide by 1.8 deep. A video and 12 photographs are included for you to review. Kikugawa Eizan was the most prolific, longest-lived and ultimately the best of the late followers of Utamaro, who attempted to carry on the master's bijin style after his death in 1806.

Kikugawa Eizan was born in 1787 under the given name of Toshinobu Omiya (died 1867). Unlike the artists with whom he is often associated, Eizan was not an actual pupil of Kitagawa Utamaro, but studied originally with his father, Kikugawa Eiji, a Kano style painter and fan maker, and later with the Shijo artist Suzuki Nanrei and the Hokusai pupil Hokkei Totoya. Kikugawa Eizan seems to have retired from printmaking in the late 1820s, though he did contribute illustrations for books even quite late in his life. Kikugawa Eizan died in 1867. Along with Kikumaro, Tsukimaro and Utamaro II, Eizan has generally been dismissed by connoisseurs as a plagiarist of Utamaro's late style, but his work in fact develops, like that of most ukiyo-e artists, from a close identification with a leading master to a studied independence, and contains pieces of remarkable beauty and interest. Bijin-ga in the Footsteps of Utamaro. In the following decade, however, as Eizan reached artistic maturity, he began to develop his own figural style, still focused for the most part on prints of beautiful women (bijin-ga). Eizan's work retains the sensitivities and lyricism that marks the Utamaro style, however, not following the earthier realism and more overt sensuality of Kunisada and Ikeda Eisen in their bijin prints. Woodblock Prints Series by Eizan Kikugawa. Eizan seems to have been particularly fond of the appellation "furyu" ("elegant" or "stylish") for his bijin series, and many of them begin with this phrase, which I will leave untranslated. The major woodblock print series by Kikugawa Eizan include. Furyu bijin awase (Collected Beauties).

Furyu gojo soroi (Five Cardinal Virtues). Furyu mu Tamagawa (Six Jewel Rivers). Furyu nana Komachi (Seven Komachi).

Furyu bijin soroi (A Gathering of Beauties). Asobi (Beauties and Child Treasures in Play).

Kikugawa Eizan also produced some remarkable triptychs and vertical diptychs, as well as a few surimono. For the most part, his prints were limited to the field of bijin work, though he did make a few experiments with actors, landscapes and animals, and children are featured in many of his bijin works. The Last Mohawk of Classical Bijin Style. Kikugawa Eizan, like Toyokuni I in actor prints, is the last manifestation of the classical ukiyo-e style in bijin work, with harmonious colors and graceful lines and subjects. After him, one senses the introduction of a different aesthetic, with harsher colors, angular lines and less ethereal material, more of an emphasis, in sum, on the material weight of earthly life, rather than its transformation into something of elegance. With Eizan, the alchemy of elegance is still alive, and in his best work, properly produced, he can cast a magic glow over the forms of the world and create lightness and grace.

This item is in the category "Antiques\Asian Antiques\Japan\Prints". The seller is "rooseveltauction" and is located in this country: US. This item can be shipped worldwide.


RARE Japanese 1861 Edo Daisetsuyo Kaidaigura with Several Kikugawa Eizan Woodcuts