更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 72 件 Kawanabe Kyōsai 作品收录于我们的目录中
简而言之
Three Kyōgen Dancers (801) 是 Kawanabe Kyōsai 最受瞩目的画作；原作收藏于 纽约 的 大都会艺术博物馆。 随后，目光会移向 Sketches of East Asian Legendary Figures (801) 和 Yang Guifei Adjusting her Hair (1850)。 在 Kawanabe Kyōsai 的 72 件作品中，这 72 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
A preliminary ink drawing captures three performers in the midst of a kyōgen dance. These figures, rendered with a fluid and spontaneous energy, embody the comedic essence of traditional Japanese theater. Each dancer is frozen in a distinct, expressive pose that suggests movement and rhythmic timing. One figure holds a drum, another a fan, and the third a bag, marking the specific roles and props essential to the performance. The…
The ink flows across the paper, capturing a moment of quietude and myth. In this black and white drawing, figures from the realm of legend emerge from the shadows of the everyday. We see Japanese figures like Daikoku and Urashima Tarō sharing space with Chinese immortals and the Twenty-Four Paragons of Filial Piety. There is a strange, casual intimacy to the scene, as if these divine and legendary beings have…
In "Yang Guifei Adjusting her Hair" by Kawanabe Kyōsai, the brush captures a moment of quiet preparation. The subject is Yang Guifei, a woman known to history as Lady Yang. She was the beloved consort of Emperor Xuanzong of Tang and remains celebrated as one of the Four Beauties of ancient China. Here, she is a figure of grace, focused on the delicate task of arranging her hair.
In this vertical composition, Kawanabe Kyōsai presents a dynamic encounter between two figures from Japanese folklore. The work, created about 1850, centers on the mountain hag Yamauba and the superhuman child Kintarō. A large, standing female figure dominates the space, her presence defined by the voluminous folds of her robes. Beside her, a smaller, crouching male figure provides a sense of scale and tension. The arrangement of these two bodies…
The scene unfolds within the delicate confines of a hanging scroll, where the figure of the Hell Courtesan, known in Japanese as Jigoku Tayū, emerges from the silk. This work, titled Hell Courtesan, captures a moment of profound stillness and spiritual weight. The artist, Kawanabe Kyōsai, brings this legendary character to life through a composition that balances the elegance of a high-ranking courtesan with the unsettling imagery of the afterlife.…
In this horizontal handscroll from 1870, we find a quiet, almost whispered dialogue between human presence and the natural world. The composition relies heavily on the use of negative space, a deliberate emptiness that allows the viewer to focus entirely on the gestural energy of the brushstrokes. It is a work of profound restraint, where the absence of color speaks more loudly than a full palette could. The monochromatic shades…
Calligraphy and Painting Party is a hanging scroll created by the Japanese painter and caricaturist Kawanabe Kyōsai. Born in 1831 in Koga, Japan, the artist navigated the shifting tides of the Edo and Meiji periods. This work dates to 1880, a moment when his brush captured the restless energy of a changing nation. His hand moved with the precision of a trained scholar and the wit of a satirist.
In this work, Wisteria Maiden and Demon Priest, Kawanabe Kyōsai presents a dramatic encounter between a maiden and a demon priest. The composition is centered on a woman dressed in an ornate, multi-colored kimono featuring red, blue, and white patterns. She appears to dance or float gracefully above a crouching, monstrous figure. This figure, the demon priest, is depicted with a weathered, muscular, and grotesque face, wearing dark, heavy robes…
Painting Party is a traditional Japanese ukiyo-e woodblock print by Kawanabe Kyōsai. The artist, born in 1831 in Koga, Japan, lived until 1889. This work emerged from a life defined by the shifting currents of the Meiji era. It captures a specific moment of social gathering through the precision of the woodblock medium.
Kawanabe Kyōsai painted Night Procession of One Hundred Demons about 1880. The work captures a Hyakki Yagyō, a traditional Japanese Night Parade of One Hundred Demons. This supernatural event brings a chaotic procession of various yokai into the light of the viewer's gaze. It is a rhythmic movement of spirits passing through the dark.
Hell Courtesan1880
12![Jurōjin [center of a triptych] (1884) 由 Kawanabe Kyōsai](/media/artworks/images-thumb/f2/17/f2177c6c2daa44c748098dea74905338.jpg)
Jurōjin [center of a triptych]1884 · 明尼阿波利斯艺术学院
13
Theatre Curtain of Shintomi-za, with an Impromputu Sketch Monster1880
14
Squirrels Eating Chestnuts1886 · 洛杉矶县立艺术博物馆
15
A Beauty in Front of King Enma's Mirror1887
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Urashima Tarō Riding on a Tortoise1888 · 大都会艺术博物馆
17
Two Children Playing with Goldfish1887 · 大都会艺术博物馆
18
Two Birds on a Branch1887 · 大都会艺术博物馆
19
Singing Bird on a Branch1887 · 大都会艺术博物馆
20
滝に燕図 Swallows by a Waterfall1887 · 大都会艺术博物馆
21
Tale of the Tongue-cut Sparrow1800 · 洛杉矶县立艺术博物馆
22
Sketches of Birds and Animals1870 · 大都会艺术博物馆
23
Three Crossbills on a Leafless Tree1878 · 明尼阿波利斯艺术学院
24![Chinese-style Landscape with Man Fishing from a Boat by Moonlight [right of a triptych] (1884) 由 Kawanabe Kyōsai](/media/artworks/images-thumb/02/16/02167aa89de2084c55ece3ba823f361b.jpg)
Chinese-style Landscape with Man Fishing from a Boat by Moonlight [right of a triptych]1884 · 明尼阿波利斯艺术学院
25![Landscape with River in Mountainous Country [left of a triptych] (1884) 由 Kawanabe Kyōsai](/media/artworks/images-thumb/6b/f2/6bf227dd0dd55876bd02952845998117.jpg)
Landscape with River in Mountainous Country [left of a triptych]1884 · 明尼阿波利斯艺术学院
26
猿を襲う鷲図 Eagle Attacking a Monkey1885 · 大都会艺术博物馆
27
兎を追う鷲図 Eagle Pursuing Rabbit1885 · 大都会艺术博物馆
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Eagle Attacking a Mountain Lion1885 · 大都会艺术博物馆
29
White Eagle Eyeing a Mountain Lion1885 · 大都会艺术博物馆
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Rocky Landscape1887 · 大都会艺术博物馆
31
Crow on a Branch1887 · 大都会艺术博物馆
32
Untitled (D2X7KF)1887 · 大都会艺术博物馆
33
Fox Catching Bird1887 · 大都会艺术博物馆
34
Bird and Frog1887 · 大都会艺术博物馆
35
松に鴉図 Two Crows on a Pine Branch1887 · 大都会艺术博物馆
36
Cranes in Marsh1887 · 大都会艺术博物馆
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Buffalo and Herdsman1887 · 大都会艺术博物馆
38
柳に鴉図 Crow and Willow Tree1887 · 大都会艺术博物馆
39
岩に鴉図 Crow on a Rock1887 · 大都会艺术博物馆
40
Owl Mocked by Small Birds1887 · 大都会艺术博物馆
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木に鴉図 Crow on a Branch1887 · 大都会艺术博物馆
42
竹に鴉図 Crow on a Bamboo Branch1887 · 大都会艺术博物馆
43
旭に群鴉図 Flock of Crows at Dawn1887 · 大都会艺术博物馆
44
ムクドリ図 Starlings on a Branch1887 · 大都会艺术博物馆
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Fish in a Whirlpool1887 · 大都会艺术博物馆
46
富士図 Mount Fuji1887 · 大都会艺术博物馆
47
Rocky Landscape1887 · 大都会艺术博物馆
48
瓜に鼠図 Mice in a Melon1887
49
Eagle Attacking Fish1887 · 大都会艺术博物馆
50
Squirrels Gathering Chestnuts1887 · 大都会艺术博物馆
51
Monkey Hanging from Grapevines1887 · 大都会艺术博物馆
52
雪中鴉図 Crow Flying in the Snow1887 · 大都会艺术博物馆
53
Waterfall, Eagle and Monkey1887 · 大都会艺术博物馆
54
月に鴉図 Crow and the Moon1887 · 大都会艺术博物馆
55
Pheasant Caught by a Snake1887 · 大都会艺术博物馆
56
Shakyamuni Conquering the Demons (Shaka Gōma zu)1888 · 大都会艺术博物馆
57
Eagle Holding Small Bird1887 · 大都会艺术博物馆
58
Monkeys1888 · 大都会艺术博物馆
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Deer and Monkeys1887 · 大都会艺术博物馆
60
Rabbits1887 · 大都会艺术博物馆
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Cat Catching a Frog1887 · 大都会艺术博物馆
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水辺に鴉図 Crow and Reeds by a Stream1887 · 大都会艺术博物馆
63
白衣観音図 White Robed Kannon1887 · 大都会艺术博物馆
64
Playful Demon耶鲁大学艺术馆
65
Frolicking Animals, Nekomata and Tanuki Badger
66![Long Arms [right of a pair of Long Legs and Long Arms] 由 Kawanabe Kyōsai](/media/artworks/images-thumb/45/74/4574e1a5761f37a00ea2cfcaee32ca34.jpg)
Long Arms [right of a pair of Long Legs and Long Arms]明尼阿波利斯艺术学院
67![Long Legs [left of a pair of Long Legs and Long Arms] 由 Kawanabe Kyōsai](/media/artworks/images-thumb/7e/70/7e70b910a18471a843418bff84dae0f5.jpg)
Long Legs [left of a pair of Long Legs and Long Arms]明尼阿波利斯艺术学院
68
Seven Otafukus明尼阿波利斯艺术学院
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Tanuki (Racoon Dog) Viewing Its Reflection in Water801 · 大都会艺术博物馆
70
Boy’s Day Carp Streamer and Shōki Banner1870 · 大都会艺术博物馆
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Figure Sketches
72
Frolicking Figures and Animals
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 5 家博物馆。
| 博物馆 | 城市 | Kawanabe Kyōsai 的作品 | 此列表中的画作 |
|---|---|---|---|
 大都会艺术博物馆 |
纽约 | 48 | Three Kyōgen Dancers, Sketches of East Asian Legendary Figures, Frolicking Figures and Animals |
 明尼阿波利斯艺术学院 |
明尼阿波利斯 | 8 | Wisteria Maiden and Demon Priest, Jurōjin [center of a triptych], Three Crossbills on a Leafless Tree |
 洛杉矶县立艺术博物馆 |
洛杉矶 | 4 | Yang Guifei Adjusting her Hair, Yamauba and Kintarō, Squirrels Eating Chestnuts |
 克利夫兰艺术博物馆 |
克利夫兰 | 2 | Hell Courtesan, Painting Party |
 耶鲁大学艺术馆 |
纽黑文 | 1 | Playful Demon |
选择一个年代，探索定义该时代的原创杰作。
In "Yang Guifei Adjusting her Hair" by Kawanabe Kyōsai, the brush captures a moment of quiet preparation. The subject is Yang Guifei, a woman known to history as Lady Yang. She was the beloved consort of Emperor Xuanzong of Tang and remains celebrated as one of the Four Beauties of ancient China. Here, she is a figure of grace, focused on the delicate task of arranging her hair.
The scene unfolds within the delicate confines of a hanging scroll, where the figure of the Hell Courtesan, known in Japanese as Jigoku Tayū, emerges from the silk. This work, titled Hell Courtesan, captures a moment of profound stillness and spiritual weight. The artist, Kawanabe Kyōsai, brings this legendary character to life through a composition that balances the elegance of a high-ranking courtesan with the unsettling imagery of the afterlife.…
Painting Party is a traditional Japanese ukiyo-e woodblock print by Kawanabe Kyōsai. The artist, born in 1831 in Koga, Japan, lived until 1889. This work emerged from a life defined by the shifting currents of the Meiji era. It captures a specific moment of social gathering through the precision of the woodblock medium.
Three Kyōgen Dancers (801)，大都会艺术博物馆, 纽约。紧随其后的是 Sketches of East Asian Legendary Figures (801) 和 Yang Guifei Adjusting her Hair (1850)。
Three Kyōgen Dancers, Sketches of East Asian Legendary Figures, Yang Guifei Adjusting her Hair, Yamauba and Kintarō, Hell Courtesan, Frolicking Figures and Animals, Calligraphy and Painting Party, Wisteria Maiden and Demon Priest, Painting Party 及 Night Procession of One Hundred Demons。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 72 件 Kawanabe Kyōsai 的作品，创作年代从 1850 年至 1888 年。
多见于 大都会艺术博物馆 (纽约), 明尼阿波利斯艺术学院 (明尼阿波利斯) 及 洛杉矶县立艺术博物馆 (洛杉矶)。上方的博物馆列表列出了所有相关机构。
在 1880s 期间：本页 72 件作品中有 52 件创作于该时期，其中包含 Painting Party 件作品。
在本页面中，最早的作品创作于 Yang Guifei Adjusting her Hair (1850)，最晚的创作于 Urashima Tarō Riding on a Tortoise (1888)。
Animals (8), Woman (6) 及 Black ink (6)，共计 72 件作品。
Ink，共计 8 件（本页共有 72 件作品）。
根据本页面的原作，Ukiyo-e
Three Kyōgen Dancers, Sketches of East Asian Legendary Figures 及 Frolicking Figures and Animals：大都会艺术博物馆, 纽约收藏了本页中 48 件作品。
Kawanabe Kyōsai 于 1831 年出生于日本古河，出身于一个武士家庭。他的童年经历了一场突如其来且震撼心灵的死亡洗礼：九岁那年，他在神田川中发现了一颗与尸体分离的人头。这次早年的冲击，成为了他正式投身艺术生涯的前奏，随后他师从狩野派大师以及 歌川国芳。尽管他精通传统绘画所需的严谨笔法，但他的灵魂却更倾向于民间画派中那种更为自由奔放的风格。他随后移居江户，他的父亲当时加入了幕府的官方消防队，正是在这里，Kyōsai 开始塑造那份将定义他整个艺术生涯的独特人格。
他的道路从未与平庸的顺从重合。在从 江户时代 向明治时代转型的政治动荡中，他成为了一个既令人着迷又充满争议的人物。他曾三次被幕府当局逮捕，原因往往在于其作品中蕴含的讽刺意味——他通过画作嘲弄政府官员并批判当时的政策。这些与法律的交锋并未削弱他的创作热情；相反，它们强化了他作为独立思想家的名声。他的艺术，正是那个从封建国家向现代强国转型之国度动荡缩影的写照。
Kyōsai 精湛的技艺与其狂野、不羁的生命力相得益彰。他赢得了“画中鬼” (Shuchu gaki) 的绰号，并通过在作品中使用各种印章来拥抱这一称号。他的题材极其广泛且往往离奇诡谲，从宗教题材到怪诞图景无所不包。他在画布上填充着恶魔、骷髅、青蛙和各种动物，并常常赋予它们类人的幽默感或政治隐喻。在他那幅著名的长卷作品《放屁之战》中，他通过纯粹的漫画式夸张，捕捉到了那个时代激烈的政治骚动。
他的 创作过程 与他的创作主题一样充满传奇色彩。据说，他可以在彻夜狂饮后开始作画，进入一种笔触随本能飞速流动的境界。这种自发的风格有时被称为“狂画” (kyōga)，它赋予了线条一种灵动且充满生命力的笔触。虽然他拥有狩野派的深厚技术功底，但他的作品更倾向于混沌与喜剧，而非静穆的崇敬。他也是一位出色的 木版画 艺术家，创作了如《Kyōsai hyakuzu》以及各种深受大众欢迎的“鯰絵” (namazu-e) 版画。
除了个人绘画作品，Kyōsai 还为视觉叙事的演进做出了贡献。1874 年，他与金字塔文（Kanagaki Robun）共同协助创办了被视为第一本漫画杂志的《艺书闻日本地》 (Eshinbun Nipponchi)。尽管该刊物仅发行了三期，但它代表了对新型图形媒体的早期尝试。他的影响力远超日本本土，其作品被收入大英博物馆和巴黎 吉美博物馆 等重要馆藏中。甚至包括建筑师约瑟夫·康德在内的西方访客，也曾对他的非凡才华留下记载。
这位艺术家于 1889 年因胃癌逝世。他留下了极其庞大的艺术遗产，估计超过一万件作品，涵盖了版画、素描和画册。他的一生正是他所处时代的镜子——动荡、转型且极其复杂。通过他的墨迹，从中世纪向现代工业社会的转型，找到了它最富有表现力的声音。
