Kikukawa Eizan: Difference between revisions
m added category using AWB |
Citation bot (talk | contribs) Misc citation tidying. | Use this bot. Report bugs. | Suggested by AManWithNoPlan | #UCB_CommandLine |
||
(38 intermediate revisions by 29 users not shown) | |||
Line 1: | Line 1: | ||
{{inline|date=March 2020}} |
|||
[[Image:Typical signature of Kikugawa Eizan reading Kikugawa Eizan hitsu.jpg|thumb|left|Typical signature of Kikukawa Eizan reading ''Kikukawa Eizan hitsu'']] |
|||
[[ |
[[File:Gobildalt.jpg|thumb|right|[[Geisha]] playing [[Go (game)|go]], a [[woodblock printing in Japan|woodblock print]]]] |
||
⚫ | {{Nihongo|'''Kikukawa Eizan'''|菊川 英山||1787 – July 17, 1867}} was a designer of [[ukiyo-e]] style [[woodblock printing in Japan|Japanese woodblock prints]]. He first studied with his father, Eiji, a minor painter of the [[Kanō school]], and subsequently with [[Suzuki Nanrei]] (1775–1844), of the [[Shijō school]]. He is believed to have also studied with ukiyo-e artist [[Totoya Hokkei]] (1790–1850). He produced numerous woodblock prints of beautiful women (''[[bijin-ga]]'') in the 1830s, but then abandoned printmaking in favor of painting. |
||
⚫ | |||
⚫ | '''Kikukawa Eizan''' |
||
Eizan was the most prolific, longest-lived and ultimately the best of those late followers of [[Utamaro]] who attempted to carry on the master's bijin style after his death in 1806. |
|||
⚫ | |||
Along with [[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. |
|||
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, as opposed to the earthier realism and more overt sensuality of [[Kunisada]] and [[Keisai Eisen]]. |
|||
Eizan, like [[Toyokuni I]] in [[Yakusha-e|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. |
|||
He is also left-handed, which was strange at such a time in Japan. |
|||
==Gallery== |
|||
<gallery mode="packed"> |
|||
Vrouw met shamisen-Rijksmuseum RP-P-2008-218.jpeg|''Woman with Shamisen''. 1808 |
|||
Geisha Playing the Hand-Game Kitsune-ken (狐拳), a Japanese rock-paper-scissors variant, by Kikukawa Eizan (菊川英山).jpg|''Geisha Playing the Hand-Game Kitsune-ken'', 1820 |
|||
Kikukawa Eizan Bijin.jpg|Bijin |
|||
Kikukawa Eizan - Untitled - Google Art Project (809353).jpg |
|||
Eizan Kikugawa - Woman Performing the Tea Ceremony - 1921.321 - Cleveland Museum of Art.tif|''Woman Performing the Tea Ceremony'' |
|||
</gallery> |
|||
==References== |
==References== |
||
{{commons category|Kikukawa Eizan}} |
|||
* [[Richard Douglas Lane|Lane, Richard]] |
* [[Richard Douglas Lane|Lane, Richard]]. (1978). ''Images from the Floating World, The Japanese Print.'' Oxford: Oxford University Press. {{ISBN|9780192114471}}; [https://www.worldcat.org/oclc/5246796 OCLC 5246796]. |
||
* Newland, Amy Reigle |
* Newland, Amy Reigle. (2005). ''Hotei Encyclopedia of Japanese Woodblock Prints.'' Amsterdam: Hotei. {{ISBN|9789074822657}}; [https://www.worldcat.org/oclc/61666175 OCLC 61666175] <!-- see Kikukawa Eizan, Vol. 2, 458. --> |
||
{{Ukiyo-e artists}} |
|||
{{Authority control}} |
|||
{{DEFAULTSORT: |
{{DEFAULTSORT:Kikukawa, Eizan}} |
||
[[Category:Ukiyo-e artists]] |
[[Category:Ukiyo-e artists]] |
||
⚫ | |||
[[Category:Japanese printmakers]] |
[[Category:Japanese printmakers]] |
||
⚫ | |||
[[Category:1867 deaths]] |
[[Category:1867 deaths]] |
Latest revision as of 02:05, 12 March 2023
This article includes a list of references, related reading, or external links, but its sources remain unclear because it lacks inline citations. (March 2020) |
Kikukawa Eizan (菊川 英山, 1787 – July 17, 1867) was a designer of ukiyo-e style Japanese woodblock prints. He first studied with his father, Eiji, a minor painter of the Kanō school, and subsequently with Suzuki Nanrei (1775–1844), of the Shijō school. He is believed to have also studied with ukiyo-e artist Totoya Hokkei (1790–1850). He produced numerous woodblock prints of beautiful women (bijin-ga) in the 1830s, but then abandoned printmaking in favor of painting.
This artist should not be confused with Harukawa Eizan, an ukiyo-e print designer who was active in the 1790s.
Eizan was the most prolific, longest-lived and ultimately the best of those late followers of Utamaro who attempted to carry on the master's bijin style after his death in 1806.
Along with 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.
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, as opposed to the earthier realism and more overt sensuality of Kunisada and Keisai Eisen.
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.
He is also left-handed, which was strange at such a time in Japan.
Gallery
[edit]-
Woman with Shamisen. 1808
-
Geisha Playing the Hand-Game Kitsune-ken, 1820
-
Bijin
-
Woman Performing the Tea Ceremony
References
[edit]- Lane, Richard. (1978). Images from the Floating World, The Japanese Print. Oxford: Oxford University Press. ISBN 9780192114471; OCLC 5246796.
- Newland, Amy Reigle. (2005). Hotei Encyclopedia of Japanese Woodblock Prints. Amsterdam: Hotei. ISBN 9789074822657; OCLC 61666175