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Station 17: Yui
Kunisada I (Toyokuni III), 1854, Wood cut
Station 17: Yui
Station 17: Yui
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Item no
16262
Title
Fifty-three stations by two brushes (Sohitsu gojusantsugi). Station 17: Yui
Description
This print depicts two women engaged in armed combat. A women with a sword strikes at her opponent who kneels to block the attack with the chain attached to her scythe. Both of the women are elegantly dressed in kimono, the long sleeves of which have been tied back to allow the women more movement. Both of the women are bare foot.
The woman with the sword wears a dark grey kimono with a pale grey cherry blossom motif. The kimono is fastened with a large obi belt that ties at the back. The belt's fabric decorated with a geometric red starburst pattern. The woman's red underkimono is visible at her hemline and under her sleeves.
The crouching woman wears a green long sleeved (furisode) kimono with a pink cherry blossom design. Her obi belt is purple and red and is tied behind her. She also wears a red underkimono.
In the background inset, Hiroshige depicts the beautiful but dangerous Setta Pass. In the mid-17th century, this path was cut through the cliff to facilitate travel along the Tokaido. Travellers on this section of the highway could enjoy the incredible views of Mount Fuji and the Bay of Kiyomi. Hiroshige's Hoeido print emphasises the dangers of the pass as travellers risk their lives to peer over the edge of the steep cliff in order to catch a glimpse of the view beyond.
Artist / maker
Kunisada I (Toyokuni III)
Engraver
Hori Take (Yokogawa Takejiro)
Date
1854
Size
36 x 24.8 cm
Type
Wood cut
Location
Art and Design Library
Further artist information:
Utagawa Hiroshige (1797-1858)
Utagawa Kunisada (Toyokuni III, 1786-1865)
Signed:
Hiroshige ga (landscape)
Toyokuni ga (figures)
Censorship seal: Aratame
Further date information:
August 1854, (Tiger year, 8th month)
The subject matter of the 'Fifty-three stations by two brushes' series drew upon the popularity of Hiroshige's celebrated series 'Fifty-three stations of the Tokaido Road' (Tokaido gojusan tsugi no uchi); the earliest editions of which were produced between 1832 and 1834.
Both Kunisada and Hiroshige were pupils of the Utagawa School and collaborated together in order to produce a commercial hit with their 'Fifty-three stations by two brushes'. The series demonstrates Hiroshige's distinction as a landscape artist and Kunisada'a skill as a figurative artist. This series comprises of fifty-six designs (including the title page). Although there were fifty-three post stations, artists traditionally include Nihonbashi (where the Tokaido began) and Kyoto (the road's terminus). The late Edo-period audience who would have collected these lavish prints were able to make connections between the figures and the specific post stations along the Tokaido. Each character's relationship to a locality relies upon subtle references to well known legends and kabuki theatre plots. Hiroshige's original Tokaido series are also referenced in these prints.
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Agriculture and fisheries
>
Equipment
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Scythe
Clothing and dress
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Garments
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Kimonos
Landscape
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Land
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Cliffs
Landscape
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Land
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Mountains
Landscape
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Water
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Seas
Military
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Arms and armament
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Daggers and swords
People
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Adults
>
Women
Places
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Asia
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Japan
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