烟中月
Moon through Conflagration

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月岡芳年（1839年-1892年）「月百姿」より
This work is from the series ‘Tsuki Hyakushi’ (One Hundred Phases of the Moon) by Tsukioka Yoshitoshi (1839-1892).

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伝統手摺り江戸木版画
越前生漉奉書使用
絵寸：横225×縦330 mm

Traditional Japanese hand-printed woodblock prints
The highest-grade Japanese paper (Echizen-kizu-hoshoshi) use
Picture size：W225 x H330 mm

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「燃えさかる建物の屋根の上で芥子に枡の纏をを持つ「い組」の町火消し。纏持ちは、火事の現場にいち早く駆けつけ、火の勢いの一番近くに立ち、消火の目印となった。火消の中でも最も花形の役職である。隅田川以西では町が四八の地域に分けられ、それぞれに「い組」「ろ組」「は組」といった、いろは文字を組の名にした町火消が設けられた。纏持ちは、纏を振り回す激しい動きをするはずであるが、この図では不動の姿勢を取る。あえて纏持ちの動きを無くすことで、火災の激しさと対比させようとした。」

━━━━「月百姿」作品解説：太田記念美術館主席学芸員　日野原健司

A town firefighter, from I Brigade, stands on the roof of a burning building, holding aloft his matoi (standard), made up of shapes recalling a keshi (poppy head) and a masu (measuring box). The role of these matoi-mochi (standard bearers) was to get to the fire as quickly as possible, then stand as close as possible to its centre, matoi aloft, indicating where help was needed. They were the most celebrated among all firefighters. To the west of Sumida River, Edo was divided into 48 regions, each of which was assigned a brigade named after a single phonetic character: the Iroha Brigades. The matoi-mochi were supposed to wave their standards in exaggerated motions, but this one stands immobile. By deliberately removing any sense of movement from the matoi-machi, Yoshitoshi creates a dramatic contrast with the violent chaos of the flames.

━━━━━ Commentary on "One Hundred Phases of the Moon" : Mr. Kenji Hinohara
Chief Curator of Ota Memorial Museum of Art

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◆ 本作品制作の経緯： 月岡芳年「月百姿」特集ページ
本作品の復刻は「江戸東京きらりプロジェクト」事業の一環で行われました

◆ Background to this work： Yoshitoshi Tsukioka “One Hundred Phases of the Moon”
The reprinting of this work is part of the "Edo Tokyo Kirari Project"

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※ 国内から注文し、海外へ発送をご希望の際はお問合せくださいませ。

【 Delivery time 】
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※ Please contact us if you would like to order from within Japan and have your order shipped internationally.