The Carvers
ずいぶん前になるが、ブルックリン美術館に広重の江戸百景展を観に行ったことがある。２０年に一度虫干しもかねて、すべての作品を展示するという素晴らしい展覧会であったが、特に印象に残ったのは版画に使われた原板の展示であった。
木目をうまい具合に風景の一部に取り入れた彫り師の仕事にも、広重の構図の奇抜さと共に感銘を受けたのを今でもはっきりと覚えている。
その原板を実際に彫った彫り師の名前は今でこそ残っていないが、そういう職人の存在がまた浮世絵の質をより高く昇華したということが、その原板を見ても強く感じることが出来た。
Many years ago, I had a chance to see “A Hundred Views of Edo” by Hiroshige at Brooklyn Museum. Once in twenty years, all the Ukiyoe prints put on display as well as for an airing purpose. It was so moving to see all of the great Hiroshige’s series at once. Among the exhibition, I was particularly fascinated by the display of the original wood blocks.
I still remember the impact I felt from the way the carver incorporated the wood grain into the landscape of Hiroshige’s distinctive compositions.
The names of the carvers are unknown. But because of those craftsmen’s fine work, Ukiyoe could reach the heights we appreciate as a form of art.
<<On wood | ホーム | Sometimes>>
木目をうまい具合に風景の一部に取り入れた彫り師の仕事にも、広重の構図の奇抜さと共に感銘を受けたのを今でもはっきりと覚えている。
その原板を実際に彫った彫り師の名前は今でこそ残っていないが、そういう職人の存在がまた浮世絵の質をより高く昇華したということが、その原板を見ても強く感じることが出来た。
Many years ago, I had a chance to see “A Hundred Views of Edo” by Hiroshige at Brooklyn Museum. Once in twenty years, all the Ukiyoe prints put on display as well as for an airing purpose. It was so moving to see all of the great Hiroshige’s series at once. Among the exhibition, I was particularly fascinated by the display of the original wood blocks.
I still remember the impact I felt from the way the carver incorporated the wood grain into the landscape of Hiroshige’s distinctive compositions.
The names of the carvers are unknown. But because of those craftsmen’s fine work, Ukiyoe could reach the heights we appreciate as a form of art.
