Eye Phoenix

Introduction

Koryusai (manufactured 1735-90) Original A samurai became, after the death of his master, the lord of Tsuchiya, called a ronin (a knight without a lord) and a man "floating". Most of these "people floating "end up in shallow water, but Koryusai chosen to be a painter and designer of woodcuts. At first it was very probably a pupil of Nishimura Shigenaga (1697-1756), but his friend and master of ukiyo-e Harunobu (c.1725-1770) had the biggest influence in his work. It gave the fire Harunobu (pseudonym) Koryusai, Masakatsu whose real name he used himself once in the past. The respect and admiration for his teacher was so great that Koryusai developed his own style is that Harunobu died. She overcame the different print sizes and ukiyo-e genre, especially in the print format and pillar shunga (erotic) type discussed in the following paragraphs.

Pilar Print

Koryusai achieved remarkable results in the long narrow format of the print column (hash-e) staining with a unique style opulent, rich and decorative and reintroduce the use of opaque orange (TAN) that had characterized the hand-colored engravings of the past. He also used the vertical size of this format to give the appearance of a hanging scroll (kakemono) acquisition of a certain stratification. As in the conventional style of the Japanese landscape painting eyes on the top of the guard at the bottom of the image in the eye leading to the middle and then upper depiciting background. In Hashira and are generally rare because the moment that is attached to the wooden columns in the national context of Japanese and therefore more susceptible to damage. But because the large number of impressions Koryusai pillar designed in this format of many of his drawings have survived.

ADULT

"The colors and lines, in creating an atmosphere full of physical love, the best color prints are unsurpassed Koryusai erotic Japanese art, which explains such high esteem he enjoys among connoisseurs – for people some have always pursued the cult of erotic art as closely as the Japanese. (Richard Lane)

Harunobu and the period during Koryusai's activity of government censorship was rather cowardly giving them the opportunity to experience the genre of shunga. Sometimes even signed their designs usually placed in the context of a sliding door or screen. First Koryusai work resembles that of Harunobu, but gradually developed his own distinctive style using colors brilliant (his famous orange!) Expressing a multi-color and vitality of the representative figures more realistic. Initially, artists working in the timber format chubas (approx. 265 x 195 mm) to Koryusai introduced Oban larger format (about 390 x 265 mm) multi-color printing using two sets to create a masterpiece called 'Sensual color, a Phoenix Released in the head "and" Twelve Contains Love, "which were published in ca.1775. Format chubas his most famous series "Flowers Elegant prosperous twelve seasons" (ca.1773) representing encounters love for each of the twelve months.

Conclusion

If one examines the literature on the history of Ukiyo-e, and in particular the artist Koryusai we realize the general consensus among critics in his excellent skill, originality and a pioneer in Japanese art. With the general recognition of his genius to the question of why it is so undervalued until now becomes more explicit. Probably one reason was the personality Koryusai modest and loyalty to his teacher and friend of Harunobu even sign his name. Jack Hillier poses an interesting theory in his book "The Japanese print – A new approach "when he chose:" There is always, especially among collectors, a tendency to make the comparison between the artist and artist, and with it Koryusai maybe if we look before and after and pine for what is not.

Important Contemporary

Chobunsai Eishier (1756-1829), Torii Kiyonaga (1752-1815), Choki Eishōsai (Act. ca. 1789-1795), Chokyosai Eiri (Act. ca. 1789-1801), Toshusai Sharaku (Act 1794-95), Kitagawa Utamaro (1753 -1806),
Katsukawa Shuncho (Act. ca.1780s-early , 1800), Katsukawa Shunsho (1726-93).

Literature

'Shunga, the art of love in the Japan? " (1975) – Tom and Mary Evans, "The Complete Ukiyo-e shunga (Vol. 3) (1995) – R. Lane, Japanese erotic prints (2002) – Klompmakers Inge, 'Japanese Erotic Fantasies "(2005) – C. Uhlenbeck and M. Winkel," The Japanese prints – A New Approach (1960) - J. Hillier.

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