Katsushika Hokusai (1760-1849), Night Attack at the Horikawa Residence (Horikawa youchi zu), Edo period, 19th century | 葛飾北斎 堀河夜討図 江戸時代 19世紀
Session begins in
November 22, 02:00 AM GMT
Estimate
1,500,000 - 2,000,000 HKD
Lot Details
Description
hanging scroll: ink and colour on silk, signed Hokusai aratame Iitsu hitsu (Brush of Iitsu changed from Hokusai), sealed Katsushika, circa 1823-26, silk brocade border
106 x 37.2 cm. (excluding mount)
189 x 49 cm. (including mount)
Boke shozohin nyusatsu [Auction of Items from a Certain Collector], Osaka Art Club, Osaka, 3rd April 1922, Lot 48.
A Kyoto private collection
Manno Yasuaki (1906-1998)
Manno Art Museum
Kaikan goshunen tokubetsu kinen, Katsushika Hokusai ten [Special Exhibition: Celebrating the 5th Anniversary Katsushika Hokusai], Ota Memorial Museum of Art, Tokyo, 1985, no. 555.
Tokubetsu ten Hokusai [Special Exhibition Hokusai], The Museum Yamato Bunkakan, Nara, 1987, no. 47.
Nikuhitsu ukiyo-e ten [Ukiyo-e Paintings], Manno Art Museum, Osaka, 1989. no. 2 (not illustrated).
Hokusai ten [Hokusai], Tokyo National Museum, Tokyo, 2005, cat. no. 438.
Saihakken Utamaro Fukagawa no yuki [Rediscovery of Kitagawa Utamaro's Fukagawa in Snow], Okada Museum of Art, Hakone, 2014, no number.
Ano Utamaro ga kaettekita Fukagawa no yuki saikokai [Encore Exhibition: Kitagawa Utamaro's Fukagawa in Snow], Okada Museum of Art, Hakone, 2015, no number.
Hokusai: Beyond the Great Wave, The British Museum, London, 2017, no. 150.
10th Anniversary Utamaro and Hokusai, Okada Museum of Art, Hakone, 2023, no. 28.
Nagata Seiji, Hokusai bijutsukan [Hokusai Museum], vol. 5, Monogatari-e [Historical Tales] , Tokyo, 1990, pls. 15-16.
Manno Yasuaki, Jigyo to bijutsu to Manno Hiroaki jiden [Biography of Manno Yasuaki: Business and Art], Osaka, 1994, p. 258.
Naito Masato, "Formal Principals in Hokusai's 'Beauty Paintings': A Look at ''Beauty Walking Under the Moon"", Idemitsu Museum of Art, Journal of Art Historical Research, vol. 1, Tokyo, 1995, pl. 10.
Kobayashi Tadashi ed., Manno bijutsukan [The Manno Art Museum], vol. 7, Nikuhitsu ukiyo-e taikan [A Survey of Ukiyo-e Paintings], Tokyo, 1996, pl. 51.
Nagata Seiji, ed., Nihon no ukiyo-e bijutsukan [Ukiyo-e Museums in Japan], vol. 5, Chubu II Kinki I, Tokyo, 1996, pl. 178.
Nagata Seiji, ed. Hokusai nikuhitsu-ga taisei [The Complete Collection of Hokusai's Paintings] , Tokyo, 2000, pl. 144.
Kobayashi Tadashi ed., Masterpieces of the Okada Museum of Art, vol. 1, Tokyo, 2019, p. 183, no. 129.
Kobayashi Yuko, "Katsushika Hokusai's Horikawa Night Attack" in Kokka [Flower of the Nation], vol. 1507, Tokyo, May 2021, pp. 41-43.
Night Attack at Horikawa has long been regarded as one of Hokusai’s finest historical paintings. The painting appeared at auction in 1923 and was later included in the Ukiyo-e taisei [Ukiyo-e Compendium, 1931] after which its whereabouts remained unknown for decades. Its next recorded appearance came over fifty years later in 1984, marking its celebrated reemergence to public view. Likely produced between 1823-26, the painting is considered among the most accomplished of Hokusai’s paintings produced in his middle years.
After years of conflict with the rival Taira clan, Minamoto no Yoritomo (1147-1199) established his military government in Kamakura in 1185. Hearsay and rumour soon bred suspicion toward his loyal younger brother Minamoto no Yoshitsune (1159-1189) whom he came to regard as a potential threat to his rule. He dispatched a group of assassins to attack Yoshitsune at his residence on Horikawa-dori in Kyoto.
Hokusai’s painting captures the tense moment as Yoshitsune, his lover Shizuka Gozen (1165-1211), and his loyal companion, the warrior-monk Musashibo Benkei (1155-1189), prepare for the counterattack. The three figures form a rising S-curve, suggesting a hierarchy of character and devotion—from Benkei’s kneeling yet combative stance to Yoshitsune’s poised command.
The poem inscribed on the upper section of the scroll is by kokugaku scholar Motoori Ohira (1756-1833), adopted son of Motoori Norinaga (1730-1801), and has been translated in Timothy Clark ed., Hokusai: Beyond the Great Wave (London, 2017), p. 243:
Hie, you mountain winds
serving the terminal branch
of Kamakura’s pine,
depart with all due speed, make
haste from Ichinotani!
Kamakura no
matsu no matsue no
yama kaze zo
Ichinotani yori
ichihayaku shite
來源
大阪美術倶楽部，《某家所蔵品入札》，大阪，1922年4月3日，編號48
京都私人收藏
萬野裕昭（1906-1998年）收藏
萬野美術館收藏
展覽
《開館5周年特別記念 葛飾北斎展》,太田記念美術館, 1985年, 編號555
《特別展 北斎》, 大和文華館, 1987年, 編號47
《肉筆浮世絵展》,萬野美術館, 1989年, 編號2
《北斎展》, 東京国立博物館, 2005年, 編號438
《再発見歌麿深川の雪》，岡田美術館，箱根，2014年，無編號
《あの歌麿が帰ってきた 深川の雪 再公開》，岡田美術館，箱根，2015年，無編號
《Hokusai: Beyond the Great Wave》，大英博物館，倫敦，2017年，編號150
《開館10周年記念 歌麿と北斎 時代を作った浮世絵師》，岡田美術館，箱根，2023年，展覽編號28（沒載圖）
出版
永田生慈等, 《北斎美術館》, 卷五：物語絵，東京，1990年，編號15－16
万野裕昭，《事業と美術と : 万野裕昭自伝》，大阪，1994年，頁258.
内藤正人, 《北斎美人画の造形-月下歩行美人図を一例に-》，出光美術館研究紀要，東京，1995年，編號10
小林忠等，《肉筆浮世絵大観》，卷七：萬野美術館，東京，1996年，編號51.
永田生慈等,《日本の浮世絵美術館》，卷五：中部II 近畿I，東京，1996年，編號178.
永田生慈等, 《北斎肉筆画大成》，東京，2000年，編號144
小林優子, 《葛飾北斎筆 堀河夜討図》，《國華》，1507號，2021年5月，頁41-43
《堀河夜討図》（堀川夜襲）長久以來被視為葛飾北齋最杰出的歷史畫作。此畫於1923年亮相拍場，後收錄於《浮世繪大成》（1931年），此後數十年間下落成謎。直至五十餘年後的1984年，才再度留下公開紀錄，標誌其重現世間的盛事。該作可能創作於1823-1826年間，屬北齋中年時期藝術造詣臻熟的代表作。
源賴朝（1147-1199年）在與平氏經年征戰後，於1185年在鎌倉設立武家政權。其後流言蜚語漸生，使他對忠誠的胞弟源義經（1159-1189年）產生疑慮，視其為潛在威脅，遂派遣刺客襲擊位於京都堀川通宅邸的義經。
北齋此作捕捉了驚心動魄的瞬間：義經與其愛妾靜御前（1165-1211年），以及忠誠的武僧隨從武藏坊弁慶（1155-1189年）正準備反擊之際。三人姿態構成上升的S形曲線，暗喻人物位階與忠誠層次，從弁慶屈膝卻蓄勢待發的姿態，至義經沉著指揮的氣度，皆層次分明。
本卷軸上方題詩出自國學（常譯作「本土學派」或「民族學派」）學者本居大平（1756-1833年），他為本居宣長（1730-1801年）之養子，並由淺野秀剛譯載於提摩西·克拉克編，《Hokusai: Beyond the Great Wave 》，倫敦，2017年，中文係由英文轉譯：
「嗚呼山風，侍奉鎌倉松之末枝，速離一之谷！」
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