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DiaporamaIzutsu. Nögaku hyakuban
Woodblock Print- Ukiyo-e
1924- 19th Century
36.0 x 26.0 cm
Bujalance Collection
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Izutsu. Nögaku hyakuban
Reproduction Medium
Reproduction Size
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Total Price
$ 263
Artwork Description
A Haunting Encounter with the Past
In the delicate interplay of shadow and light, Izutsu emerges from the storied series Nōgaku hyakuban (One Hundred Prints of Noh) as a profound meditation on memory and longing. Created by the master printmaker Kōgyo Sakamaki around 1924, this exquisite woodblock print captures a pivotal, ethereal moment from one of Japan's most revered dramatic traditions. The scene depicts the ghost of Lady Izutsu, appearing not in the traditional finery of a noblewoman, but draped in her husband’s imperial court kimono and headdress. As she moves through the autumn grasses, searching for a reflection in a well, the viewer is invited into a world where the veil between the living and the dead is as thin as a single silk thread. It is a composition that breathes with a quiet, melancholic grace, making it an incomparable centerpiece for those who appreciate art that speaks to the soul.
The technical mastery of Sakamaki is evident in every subtle gradation of color and line. As a protégé of the legendary Tsukioka Yoshitoshi, Sakamaki inherited a profound understanding of ukiyo-e technique, yet he infused it with a modern sensitivity that captured the psychological depth of the Noh theatre. The print utilizes the traditional woodblock method to achieve a soft, atmospheric texture, where the landscape feels as much like a dreamscape as a physical place. The way the colors bleed into one another evokes the misty, uncertain atmosphere of a twilight encounter, while the precise linework maintains the dignity and ritualistic elegance inherent in Noh performance. For the discerning collector or interior designer, this piece offers a sophisticated balance of intricate detail and serene negative space.
Symbolism and the Essence of Noh
Beyond its visual beauty, Izutsu is steeped in layers of cultural symbolism that resonate long after the first glance. The Noh theatre itself is rooted in ancient Buddhist rituals, and this print embodies that spiritual gravity. The choice of attire—the noshi (man’s imperial court kimono)—serves as a poignant symbol of Lady Izutsu's eternal devotion to her husband, Ariwara no Narihira. Her presence among the autumn grasses suggests the transient nature of life, a core concept in Japanese aesthetics known as mono no aware—the pathos of things. The well, a central motif, acts as a mirror to the subconscious, a portal through which the ghost seeks a connection to a lost era.
Integrating such a piece into a curated space provides more than mere decoration; it introduces a narrative of historical depth and emotional complexity. Whether placed in a minimalist contemporary setting to provide a focal point of contemplative stillness or within a classic study to complement fine textures, this reproduction brings the quiet power of the Meiji and Taisho eras into the modern home. It is an invitation to pause, to reflect, and to find beauty in the ephemeral moments that define our shared human experience.
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Artist Biography
Kōgyo Sakamaki (1869–1927): The Poet of Noh
Kōgyo Sakamaki, whose name translates to “Moonlit Harvest,” stands as one of Japan’s most revered printmakers of the Meiji era (1868–1912), a period marked by rapid modernization and cultural introspection. Born Henyu Bennosuke in Nihonbashi, Tokyo—a bustling district at the heart of Edo’s commercial center—his artistic journey began under the tutelage of Tsukioka Yoshitoshi, arguably Japan's foremost ukiyo-e artist, a figure who profoundly shaped Sakamaki’s aesthetic sensibilities and lifelong devotion to Noh theatre. This dedication would define his oeuvre, resulting in over 550 prints that capture the essence of this ancient Japanese dramatic tradition with unparalleled sensitivity and artistry.- Early Life & Training: Sakamaki's formative years were spent assisting his father in running an inn while simultaneously immersing himself in pottery painting under his uncle’s guidance—a grounding experience that instilled a meticulous attention to detail and craftsmanship. Crucially, he enrolled at Tokyo School of Fine Arts at the age of fifteen, where he honed his artistic skills alongside Yoshitoshi, absorbing the master's techniques and fostering an appreciation for Western influences alongside traditional Japanese aesthetics.
- The Influence of Yoshitoshi: Yoshitoshi’s marriage to Sakamaki’s mother cemented their familial bond and provided Sakamaki with invaluable mentorship. Yoshitoshi championed Noh theatre as a form of artistic expression, recognizing its profound connection to Japanese culture and history—a conviction that ignited Sakamaki's own passion for the genre.
- Collaboration with Gekkō: Following Yoshitoshi’s death in 1892, Sakamaki continued his artistic pursuits under the guidance of Ogata Gekkō, another titan of Meiji printmaking. Gekkō encouraged Sakamaki to explore watercolor techniques and synthesize Western influences with traditional Japanese sensibilities—a stylistic fusion that would become a hallmark of Sakamaki’s distinctive visual language.
Noh Theatre Prints: A Legacy of Observation & Emotion
Sakamaki's artistic focus centered on Noh theatre, a ritualistic form of drama characterized by stylized movements, chanting, and masks—a tradition that had undergone significant transformation since its origins in feudal Japan. Recognizing the challenges faced by Noh as it navigated the pressures of modernization, Sakamaki sought to preserve its cultural heritage through meticulously crafted prints. He undertook extensive research into Noh performance practices, documenting costumes, postures, and facial expressions with remarkable precision.- Series Creation: Sakamaki produced three monumental print series—*Hanjo*, *Ikarikazuki*, and *Fuji*—each representing a comprehensive portrayal of Noh plays. These prints are not merely reproductions; they are imbued with palpable emotion and convey the spirit of Noh’s rituals and aesthetics.
- Technique & Style: Sakamaki employed a distinctive watercolor-like technique, layering translucent washes to achieve luminous effects that captured the subtle nuances of Noh theatre—a stylistic innovation that distinguished him from his contemporaries.
Critical Recognition & Artistic Significance
Sakamaki’s work garnered widespread acclaim both in Japan and internationally. He was awarded a prize at the Panama Pacific International Exposition in San Francisco in 1915 for his woodcut “The Horse Market at Kiso,” cementing his reputation as one of Japan's foremost printmakers. His prints continue to be studied by scholars and admired by collectors alike, serving as invaluable documents of Noh theatre’s cultural history and embodying the artistic ideals of the Meiji era—a testament to Sakamaki’s enduring legacy as a master of ukiyo-e and a poet of Japanese tradition.Posthumous Legacy & Continued Appreciation
Despite his untimely death in 1927, Sakamaki's influence persists through the work of his student, Sufo, who continued to produce prints inspired by Sakamaki’s vision—a continuation of his artistic spirit that ensures his contribution to Japanese art history remains vibrant and relevant. His prints reside in major collections worldwide, including the University of Pittsburgh, where they are celebrated as masterpieces of ukiyo-e artistry and embodiments of Japan's cultural heritage.
kogyo sakamaki
1869 - 1927 , Japan
Quick Facts
- Artistic Movement Or Style: Noh Theatre Prints
- Artists Or Movements Influenced By This Artist: ['Ukiyo-e']
- Artists Who Influenced This Artist:
- Tsukioka Yoshitoshi
- Ogata Gekkō
- Date Of Death: 1927
- Full Name: Tsukioka Kōgyo 月岡耕漁
- Nationality: Japanese
- Notable Artworks:
- Hanjo. Nögaku hyakuban
- Ikarikazuki. Nögaku Zue
- Fuji. Nögaku Zue
- Place Of Birth: Tokyo, Japan
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