Hokusai frequently changed his art name; ShunRou-ShaRaku-SouRi
In a previous blog post
titled "Shunro’s *Shinpan Odori-e Zukushi* Employs the Same Technique as
Sharaku’s Later Full-Length Portraits,"
I created models based
on two dancing figures from *Shinpan Odori-e Zukushi*;
here, I have added a
drawing of one of them.
The largest circle is
indicated by a light blue arc.
The blue arc—part of the
second-largest circle—accounts for a large portion of the overall pattern.
The colors of the
circles forming these shapes have been varied to make the structure easier to
understand.
Next, I will attempt to construct only the
largest, second-largest, and third-largest circles from the circular-arc model
of Sharaku’s full-length portrait of Ichikawa Kōrazō II—a work that has not
received much critical acclaim.
The light-blue circular arc that forms the sword is the
largest, and it also creates the vertical stripes of the kimono.
The second-largest arc is indicated in green.
Only those who fail to appreciate the fascination of the
forms propagate the idea that Sharaku’s work was superior only during his early
period.
Sharaku’s technique belonged to what was Hokusai’s
experimental phase.
It is obvious that Sharaku's interest is the pattern of the kimono, which reminds me of Sumou-e "Kagamiiwa",
It seems unlikely to be a mere coincidence that the art
name aligns with "ShunRou-ShaRaku-SouRi";
let us take a look at the arc-shaped model of
"Tōmegane" (Telescope), a masterpiece from the Sōri era.
The circle forming the outer edge of the open umbrella
serves as the primary structure.
Elements such as the umbrella ribs, the handle, the telescope, the hair ornament, the bridge of the nose, the line of the neck, the cheeks, and the upper arms are all composed of uniform
Viewing a picture
as a pattern reveals the ingenuity behind it.
Creating a model
makes it easier to perceive form.
The appeal of a
work of art stems from its unique structure.
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