Station 7: Fujisawa

Category

Library Item

Item no

16393

Title

Fifty-three stations by two brushes (Sohitsu gojusantsugi). Station 7: Fujisawa (Sohitsu gojusantsugi)

Description

This print shows an elaborately dressed woman dragging a cart behind her. A black and white dog stands beside the woman. Her old fashioned hairstyle indicates that this character is not from the mid-19th century but instead belongs to an earlier era (Genroku era). Her purple long sleeved (furisode) kimono is decorated with sprigs of flowers and areas of red tie-dyed (shibori) design. Her obi belt is black and has been overlaid with a narrow belt bearing a red starburst design.
Hiroshige's background inset view shows the Tokaido lined with pine trees and a snow-covered Mount Fuji in the background.
The female character in this print features in the collaborative series by Hiroshige, Kunisada and Kuniyoshi titled 'Tokaido Pairs' or 'Fifty-three parallels of the Tokaido' (Tokaido gojusantsugi) published in the mid 1840s by Ibasen, Ibakui and others.
This woman may be a reference to the compassionate character Terutehime, who faithfully dragged her wounded husband to a sacred waterfall to cure his injuries. Slung over her shoulder is the rope she used to pull along her husband's beggar's cart.
In Hiroshige's original Hoeido series print, Yugyoji temple is visible on the hilltop, and on the path below pilgrims and blind men are depicted approaching the torii gate that leads to the Enoshima Benten shrine.

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:
July 1854, (Tiger year, 7th 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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Related subjects

Animals > Mammals > Dogs

Clothing and dress > Accessories > Hairstyles

Clothing and dress > Garments > Kimonos

Landscape > Land > Mountains

People > Adults > Women

Places > Asia > Japan

Plants > Trees > Trees

Transport > Infrastructure > Lanes

Transport > Infrastructure > Roads

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