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Mouse Mat : Traditional Toyokuni Japanese Woodblock print of Actor
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Traditional Toyokuni Japanese Woodblock print of Actor
" This print by one of the masters of woodblock printing Utagawa Toyokuni III. 1786-1864.The series, The 53 Stations of the Tokaidoa from 1852 is probably the most succesfull wood block print series ever published. From some of the prints up to 7000 copies were made.The image shows Ichikawa aADanjuro VIIIaA in the role: Kagekiyo, play: Kagekiyo Ja station 42censor seal: Hama, aApublisher:Izutsuya ShokichiaA carver: MinoaA, in the background landscape the villagers run a horse and the smoke from the fires drift upwards."
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BernardAllum
Media ID 19334361
© BernardAllum
Kabuki Series Spooky Storytelling Zen Like Edo Period
Mouse Pad
Standard Size Mouse Pad 7.75" x 9..25". High density Neoprene w linen surface. Easy to clean, stain resistant finish. Rounded corners.
Archive quality photographic print in a durable wipe clean mouse mat with non slip backing. Works with all computer mice
Estimated Image Size (if not cropped) is 16.8cm x 23.7cm (6.6" x 9.3")
Estimated Product Size is 20.2cm x 23.7cm (8" x 9.3")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
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EDITORS COMMENTS
This print showcases a remarkable Traditional Toyokuni Japanese Woodblock print by Utagawa Toyokuni III, one of the masters of woodblock printing during the Edo period. Created in 1852 as part of his highly successful series, The 53 Stations of the Tokaidoa, this particular print is believed to be one of the most widely published woodblock prints ever. The image depicts Ichikawa Danjuro VIII in his role as Kagekiyo, a character from the play "Kagekiyo Ja". Stationed at number 42 along the Tokaido road, this scene captures an eerie ambiance with its zen-like storytelling and spooky undertones. As we gaze upon it, we are transported back in time to witness a mesmerizing performance on stage. Intriguingly, amidst the theatrical setting lies a background landscape where villagers can be seen fleeing on horseback while smoke billows upwards from distant fires. This juxtaposition adds depth and mystery to the composition, leaving us pondering about what might have transpired before or after this dramatic moment. Bernard Allum's expert capture allows us to appreciate every intricate detail and delicate brushstroke that went into creating this masterpiece. It serves as a testament to both Toyokuni III's exceptional talent and the enduring allure of kabuki theater during Japan's rich artistic history.
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