Tsukioka Yoshitoshi is widely recognized as the last great master of the ukiyo-e genre of woodblock printing and painting. He is also regarded as one of the form's greatest innovators. His career spanned two eras—the last years of Edo period Japan and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.
月冈芳年是公认的浮世绘木版印刷和绘画的最后一位大师。他也被认为是这种艺术形式最伟大的创新者之一。他的职业生涯跨越两个时代——日本江户时代末期和明治维新后的现代日本初期。和许多日本人一样，月冈芳年对来自世界其他地方的新事物很感兴趣，但随着时间推移，他越来越担心日本传统文化的多方面流失，其中包括传统的木版印刷。
By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level before it effectively died with him. Today's print belonged to the A New Selection of Eastern Brocade Pictures series, created when the artist was at the peak of his career. During this time, he was also working on his acclaimed One Hundred Aspects of the Moon and another series of vertical diptychs that are today considered highlights of the artist's career. A New Selection of Eastern Brocade Pictures was extremely popular; some images were reprinted until the blocks were extremely worn.
在职业生涯的最后阶段，月冈芳年几乎是在与时间和技术进行一场单枪匹马的斗争。当他以传统方式工作时，日本正采用西方的大规模复制印刷方法，如摄影和平版印刷。尽管如此，在一个远离自己过去的日本，他几乎是凭一己之力将传统的日本木刻版画推向一个新高度，直到它与他一起消亡。今天的版画属于《新撰东锦绘》系列，创作于艺术家的职业巅峰时期。在此期间，他还创作了广受赞誉的《月百姿》和另一系列的竖版双联画，这些作品如今被认为是艺术家职业生涯中的高光时刻。《新撰东锦绘》大受欢迎；一些图像被重复印刷，直到木板严重磨损。
The subject matter of the set is mostly derived from classical Japanese historical or mythical stories, sometimes in versions known in kabuki theatre dramatizations. Here we see evil Omatsu or demon Omatsu, a female bandit who appears in several kabuki plays. Her story seems to be based on facts; she is always represented as a vile woman, however, perhaps too free and dangerous for the rigid society of the Edo period. It is said that she killed her husband, a blind samurai, and then started to live as an outlaw.
该系列的主题主要来自日本古代历史或神话故事，有时是歌舞伎戏剧中的版本。在这里我们看到邪恶大松或鬼神大松，一个出现在几部歌舞伎剧中的女强盗。她的故事似乎改编自真实事件；她总被描绘成一个卑鄙的女人，然而，也许对于江户时代的苛刻社会来说，她是过于自由和危险的。据说她杀死了自己的丈夫，一个盲人武士，然后开始过着亡命徒的生活。
Today's painting is from a private collection. Thank you for viewing.
今天的画作来自私人收藏感谢观看:)
