淘书团

英文原版《Poem of the Pillow and Other Stories》（枕边诗:日本浮世绘春宫画精选）精装版，收录了喜多川歌麿、葛饰北斋、铃木春信、鸟居清长、歌川国芳等23位艺术家作品。350幅彩色画像，画作精美，选取水准最高的浮世绘作品，题材广泛，刻画细致入微，具有独特的魅力。原价396元，团购价280元，全国包邮！

　　铃木春信（1725-1770）。日本传统的木刻版画，包括黑白的墨绘，手上彩的丹绘，赭绘以及红折绘（二至五色套印）等。铃木春信在此基础上进一步发展，采用多色套印法成功地制出第一批“锦绘”。因其多彩灿烂，效果美如西阵织（京都西阵产的纺织品，以色彩绚丽着称），故又名西阵织绘。锦绘不仅丰富了这位艺术家的创作生命，甚至平稳地将发展已百年的浮世绘纳入日本美术的主流。铃木春信以擅长美人风俗画而着称。他运用浪漫的手法、梦幻般的色彩表现少女纯洁无瑕的爱，并把庭院和建筑细节当做背景。他的“少女型”美人曾风靡日本数十年。

　　喜多川歌麿（1758-1806）是杰出的浮世绘大师，日本美人画泰斗。他的出现，使美人画的创作步入黄金时代。作品内容包括肉感十足的美人半身像、容貌的局部特定，以及江户居民好奇的青楼艺妓生活细节等。无论是生活奢侈的名妓或讨活于街头的贫妓，这位艺术家均能通过人物特征的入微刻画以及站姿、坐姿的巧妙组合，把她们互异的内在本质和天壤之别的境遇表现得淋漓尽致，令人叫绝。

　　鸟居清长（1752-1815），年轻时即入鸟居清满门下学习艺人画，不久便转向美人风俗画的创作。十八世纪中叶流行的少女型美人，随着铃木春信于1770年的逝去而风光不在，与此同时，以湖龙斋与北屋重政居首的成熟型美女却渐渐受欢迎。资质聪慧的清长、凭其与生俱来的绘画天赋，在人们欣赏趣味的转型时期，发挥个人创造力，将前二者美女的腰身变得更加修长玉立，更接近江户美女的理想典型，从此，他的“高挑柳腰”型成熟美人，一跃而成为师们争相模仿的对象。在生活富裕的天明年间，这位艺术家被形容为“新时代的大师，江户锦绘之父”。

　　歌川国芳（1798～1861）。日本江户时代人，是浮世绘歌川派晚期的大师之一。他出身丝绸染坊家庭，本名井草孙三郎，幼名芳三郎。在帮助父亲料理生意的同时对艺术产生兴趣。先从师歌川国直，后来为版画大师歌川丰国所看中，于1811年被收为弟子，1814年出师并取艺名歌川国芳。和歌川派其他画家一样，他开始是创作戯画，但生意不佳，几年后不得不以修理榻榻米为生。后来偶遇歌川国贞，觉得自己的才能其实高过对方，于是刻苦努力，画出的一些武者三联画得到好评。1827年开始创作着名的水浒传豪杰百八人系列。30年代早期工于山水、40年代创作了大量的美人绘和武者絵。歌川国芳还因为画猫而着名，经常在画面角落里带上猫。据弟子说他爱猫到作坊里到处养猫的地步。19世纪日本浮世绘大师歌川国芳根据中国古典文学作品《水浒传》中108个梁山好汉的人物性格，生动地描绘出富有个性的典型人物肖像。威武繁复，细腻浓烈，丝丝入扣，格外受人欢迎。留下大量鬼怪画，风格繁复，形象生动。

　　葛饰北斋（1760年─1849年）KatsushikaHokusai，日本江户时代的浮世绘画家，他的绘画风格对后来的欧洲画坛影响很大，德加、马奈、梵高、高更等许多印象派绘画大师都临摹过他的作品。他还是入选“千禧年影响世界的一百位名人”中的唯一的一位日本人。 

　　At a time when the West was promoting conservative and chaste doctrines of living in the 17th and 18th centuries, something quite different was happening in the Far East. The "Floating World" culture was developing in Yoshiwara, the red-light district of Edo （modern Tokyo）， the site of many brothels, tea houses and kabuki theaters that were popular with Japan's growing middle class. During the Edo-period, Japan was exploring eroticism in the form of art to encourage sexual satisfaction. Known as Shunga, or “spring images,” these illustrations were greatly admired with their vivid colours, and high quality.

　　Renowned Japanese art expert Gian Carlo Calza, Professor of East Asian Art History and Director of the International Hokusai Research Centre at the University of Venice has brought these images to the Western world. Images collated from both private and public collections offer a great variety of traditional Japanese erotica. This book harvests erotic images from artists including Kitagawa Utamaro, Katsushika Hokusai, Utagawa Kuniyoshi and Torii Kiyonaga to name a few. Fine silk-thread paper encases half of the erotic image printed on the front of this tome, evocative of the transparent covers depicted in the enclosed artwork, whilst with each copy a print of Utamaro’s famous erotic scene from Poem of the Pillow is included, which can be removed and framed.

　　What impresses about the work of these artists is the great attention to detail and the subtle metaphors that are so intricately woven into the visual story. From the cracked heels of a repulsive worker dropping his huge rice paste bag as he attempts to rape a young woman, to the suggestive verse by the comic poet Yadoya no Meshimori written on the fan in Utamakura’s Poem of the Pillow. The “Pillow” books themselves were explicit depictions of sexual life, intended to inform, thrill and entertain, yet Shunga is varied with some images showing famous tales, and others presenting unrelated stories, with variation in their subjects also from virginal teenagers to old married couples engaging in all manner of erotic activities. But what must be noted of Shunga is that although the images are highly erotic, the figures are fully or partially clothed perhaps heightening the voyeuristic mood caught in the images. This book commences with an introduction by Gian Carlo Calza, followed by stories and prints organized by artists, and is available from June 2010.

Title : Poem of the Pillow and Other Stories By Utamaro, Hokusai, Kuniyoshi, and Other Artists of the Floating World

ISBN : 0714849960

EAN : 9780714849966

Authors : Calza, Gian Carlo

Binding : Hardcover

Publisher : Phaidon Press

Publication Date : 2010-09-22

Pages : 463

Height : 1.8900 inches

Width : 8.5800 inches

Length : 11.0200 inches

Weight : 3.7500 pounds

内容简介

　Publication Date: September 22, 2010

Shunga, such as the famous Japanese erotic pillow books, also known euphemistically as 'spring images', were vibrant, curious and explicit documents of sexual life, designed to inform, thrill and entertain. This book presents a comprehensive modern study on Japanese erotic art, illustrating a large selection of the best works from public and private collections from around the world. Far from being a separate genre, Shunga constitutes at least half of the output of all ukiyo-e art, and often the largest part of any given artist's production. Once surprising, this is now only recently beginning to be taken for granted, and the qualities usually given to the greatest masterpieces of ukiyo-e art, acclaimed for their subtlety, elegance, refinement and novel composition, are now being attributed to the blatantly pornographic images produced by the same artists. The social and religious attitudes of pre-modern Europe both prevented the appreciation of Shunga prints. The cultural context of pre-modern Japan was markedly different to that of Europe, and allowed a vibrant, uninhibited and widely circulated genre of erotic imagery to develop. Edmond de Goncourt first started to collect Japanese art works including Shunga prints, and published the first monograph on a Japanese artist in 1891. De Goncourt's interest in Utamaro gave sexualized prints particular importance, making them integral to the history of Japanese art and its reception in the Western world. Artists such as Edgar Degas, Vincent Van Gogh and Paul Gauguin among others were known for their love of Shunga prints and were influenced by the unusual framing and arbitrary colors of Japanese printing methods. Shunga notably came to the West during the Art Nouveau period when collecting Japanese prints became popular, and traces of Shunga styles and elements have visibly influenced this artistic period. The most famous and recognizable shunga work is Hokusai's depiction of a young woman being ravished by an octopus in his album "Pining for Love". Compared to Western perceptions of the nude and its associations with sex and the Christian concept of original sin, mere nakedness held little erotic interest to the Japanese viewer. This explains why Japanese erotica is so extreme in its sexual depictions and why many of the prints, paintings and scrolls illustrated in this book depict clothed or half clothed figures. Some Shunga images illustrate famous tales, while others present unrelated sequences of sexual tableaux, often depicting all ages from virginal teenagers to old married couples, as well as all types of sexual activities, be it masturbation, heterosexual, homosexual or group sex. Much if not most Shunga was published in book form, as opposed to the single sheets that dominate the 'normal' ukiyo-e market, which allowed pictures to be easily carried about and, importantly, stored unobtrusively. This is the case of Utamaro's famous album, "Poem of the Pillow", which is reproduced in this publication in its entirety, as are many albums notably by Hokusai, Harunobu, Kuniyoshi and many others. The book also illustrates some of the rarer Shunga works such as the beautiful handscrolls made by such artists as Kyonobu, Sukenobu and Shuncho. These demonstrate particularly the expressive vibrancy of color and interest in surface pattern that are aesthetically important in the Japanese print. Gian Carlo Calza's insightful text is accompanied by 350 color images, offering a great variety of examples from traditional Japanese erotica. The book comprises of a general introduction which sets the artists and their work in their social, historical and artistic context. The book is then organized by artist with a short text on each artist, introducing the illustrated works. The author references the latest in art historical scholarship, but this book is also aimed at readers who may not have specialist knowledge or extensive familiarity with Japanese culture.

　　浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特民族特色的艺术奇葩，是典型的花街柳巷艺术。主要描绘人们日常生活、风景、和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。

　　浮世绘的艺术，初期原为肉笔浮世绘，即画家们用笔墨色彩所作的绘画，而非木刻印制的绘画。肉笔的浮世绘，盛行于京都和大阪，这个画派的开始，是带有装饰性的。它为华贵的建筑作壁画，装饰室内的屏风。在绘画的内容上，有浓郁的本土气息，有四季风景、各地名胜，尤其善于表现女性美，有很高的写实技巧，为社会所欣赏。这些大和绘师的技术成就，代代相传，遂为其后的浮世绘艺术，开导了先路。

　　浮世绘木刻归纳起来大致有两种形式：“绘本”和“一枚绘”。所谓“绘本”，即是插图画本。它在江户初期是以古典小说的插图为开端，后来陆续出现通俗的插图读物，到万治年间，随着市民小说的产生，这种木刻绘本更加迅速发展。民间画师菱川师宣便是这种“绘本”的创始人。