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- NARAZAKI Eisho
- NARAZAKI Eisho / Inside of Asakusa-Kannon Temple
NARAZAKI Eisho / Inside of Asakusa-Kannon Temple
SKU： C19245
作品
年代 : 昭和7年
サイズ : 大判
刷 : 優良
保存 : 良
詳細 : 裏面に少ヤケ
ディレクターコメント
浅草観世音の内堂を迫力あるスケールで描いた作品。薄暗い天井は肉眼で見上げた時の感覚を呼び起こすような見事な描写で描かれている。開かれた内堂には鳩が迷い込み、参詣に訪れた人々とともに賑わいをみせている。
楢崎栄昭は永濯の門人で、大蔵省印刷局に在職中にキヨッソーネの助手として彫刻銅版を習得する。大正 9 年から扶陽と号し、輸出用の木版画を発表した。その後、昭和 7 年からは栄昭と号し、渡辺版画店から風景画を発表し好評を得る。
Information
Date : 1932
Size : O-ban
Impression : Very good
Condition : Good
Detail : Slight soiling on reverse
This artwork is the depiction of the inside of the Asakusa-Kannon temple in the dynamic drawing scale. The stunning depiction of the dim ceiling makes us remember the scenery that we see with our naked eyes. The opened place calls in even the pigeons into there and looks crowded.
NARAZAKI Eisho was a pupil of Eitaku. When he was working at the print department of the ministry of finance, he became an assistant to Edoardo Chiossone and learned the copperplate printing techniques.
From 1920, he changed his artist name to Fuyo, and began to publish the woodcut print for the exportation.
Also, from 1932, he changed the name to Eisho and published the scenery woodcut prints from the Watanabe publisher company, and they gained a good reputation.
年代 : 昭和7年
サイズ : 大判
刷 : 優良
保存 : 良
詳細 : 裏面に少ヤケ
ディレクターコメント
浅草観世音の内堂を迫力あるスケールで描いた作品。薄暗い天井は肉眼で見上げた時の感覚を呼び起こすような見事な描写で描かれている。開かれた内堂には鳩が迷い込み、参詣に訪れた人々とともに賑わいをみせている。
楢崎栄昭は永濯の門人で、大蔵省印刷局に在職中にキヨッソーネの助手として彫刻銅版を習得する。大正 9 年から扶陽と号し、輸出用の木版画を発表した。その後、昭和 7 年からは栄昭と号し、渡辺版画店から風景画を発表し好評を得る。
Information
Date : 1932
Size : O-ban
Impression : Very good
Condition : Good
Detail : Slight soiling on reverse
This artwork is the depiction of the inside of the Asakusa-Kannon temple in the dynamic drawing scale. The stunning depiction of the dim ceiling makes us remember the scenery that we see with our naked eyes. The opened place calls in even the pigeons into there and looks crowded.
NARAZAKI Eisho was a pupil of Eitaku. When he was working at the print department of the ministry of finance, he became an assistant to Edoardo Chiossone and learned the copperplate printing techniques.
From 1920, he changed his artist name to Fuyo, and began to publish the woodcut print for the exportation.
Also, from 1932, he changed the name to Eisho and published the scenery woodcut prints from the Watanabe publisher company, and they gained a good reputation.
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