Beschreibung
Colour woodblock print / woodcut. on paper. Size in cm: The overall size is ca. 37 x 25.5 cm. The image size is ca. 32 x 22.5 cm. Size in inch: The overall size is ca. 14.6 x 10 inch. The image size is ca. 12.6 x 8.9 inch.Set of 2 images on 1 sheet. These 2 images are the text pages to this work. These 2 plates originate from the e-hon: 'Taisei Shinshafu.' (Comprehensive manual of realistic sketches.), by Kondo Ariyoshi, supplemented by Nambara Keisho, printed by Muto Inazo, published by Shibakawa Mataemon , edited by Shikida Seishichi, Osaka 1888. While the general term for books written in Japan is Wahon / Wasobon, this woodblock print originates from an Ehon / E-hon (Old illustrated Japanese books.). The prints in these books are woodblock prints, similar to the separately published Japanese prints which are called Ukiyo-e (Prints of the non-eternal world.). Ehon books are often stitched in accordion folded pages.Artists and Engravers: Artist: Kondo Ariyoshi (active c. 1830-1850) Woodcuts by Nambara Keisho. Ariyoshi was a pupil of a prominent Kyoto painter Kishi Ganku (1756-1838), who drew inspiration from the distinctive combination of Japanese, Chinese, and Western painting styles popularized by the Maruyama School founded by Okyo (1733â "1795). The printed book belongs to a long tradition of painting manuals in East Asia. The original paintings by Kondo belonged to Shibakawa Matauemon of Osaka, who invited a contemporary artist, Nambara Keisho, to prepare and supplement the collection for reproduction and to provide a preface for it. Written in the third month of the twenty-first year of the Meji era (1888), Nambaraâ s preface provides information about the artist, the collector, and the project. By this account, Kondo had a heaven-endowed fondness for painting and was popularly held to have surpassed his teacher, Ganku. Sadly, the artistâ s life was short. he died in the Ansei reign period (1854-59). Nambara admired the fresh colors and delicate execution of Kondoâ s works, and proclaimed them truly worthy of handing down to posterity. He modestly protested that he lacked the requisite skill to meet Shibakawaâ s request for supplementary paintings, but could not turn it down. He compared adding his own paintings to Kondoâ s to using a dogâ s tail to supplement mink, but allowed that later students of painting would benefit from having easy access to these works. Shibakawa solicited a second preface from Fujisawa Nangaku (1842-1920), a respected Confucian scholar and private academy teacher in Osaka. Writing a month after Nambara, Fujisawa also praises the brushwork, the most important element in East Asian painting, as neat and delicate, and finds the images so lifelike that we can almost smell the flowers and hear the birdsong. He too notes Mr. Shibakawaâ s appreciation of the paintings and altruistic desire to have them engraved so as to share them with the world. The delicate outlines and light, fresh colors seem to evoke the paintings praised in the prefaces, and the usefulness of the images to the student artist is obvious. Ink-line drawings accompany full-color renderings. details of flower and animal parts, such as a bud or head, are given along with images of whole plants and birds, insects, and fish. While aimed at the art world, the images and inscriptions reveal a naturalistâ s eye in their concern for detail, the multiple perspectives of a single specimen, and, in the case of the plants, descriptions of different stages of growth, buds, flowers, and sometimes fruit. The inscriptions identify the animal or plant, occasionally give alternate names, and indicate the date on which the picture was drawn.Condition: Excellent given age. General age related toning. Each sheet with 8 small holes from binding. Please study scan carefully.Keywords: ANTIQUE JAPANESE PRINT-TAISEI SHINSHAFU-KONDO ARIYOSHI-NAMBARA KEISHOPCOX-C6-32. Bestandsnummer des Verkäufers lb3922
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