Station 1: Nihonbashi

Category

Library Item

Item no

16386

Title

Fifty-three stations by two brushes (Sohitsu gojusantsugi). Station 1: Nihonbashi (Sohitsu gojusantsugi)

Description

This print depicts a woman wearing a long sleeved (furisode) kimono in the company of a young child. Her modest hairstyle contains a few ornamental hairpins. The woman's kimono is decorated with a purple and white design that is suggestive of the shoreline and fisherman's netting. Sea birds (possibly plovers) appear across the fabric. A sage green coloured obi belt with a floral pattern is tied behind her.
The boy wears similar coloured clothing and his kimono bears a simple geometric design that appears to have been produced by kasuri, an ikat style of weaving that is traditional to Japan. The collar of his outer kimono is black and he wears a yellow obi belt. Both figures wear red under kimono.
The boy holds a toy samurai in his left hand. This is an illusion to Hiroshige's original Hoeido series (1831-4) in which a daimyo cortège marches across Nihonbashi bridge. The Tokaido was the main route for samurai who accompanied their lords to Edo as part of the obligatory system of alternate attendance (sankin kotai). Daimyo and their large retinues of samurai were expected to reside within the capital for extended periods of time as an outward show of loyalty to the shogun.
Since Nihonbashi was the location of the Edo fish market, Hiroshige's Hoeido print naturalistically shows the bridge populated by fish vendors. However, in the 'Fifty-three stations by two brushes' series these modestly dressed mercantile characters have been replaced with a fashionable beauty and her child.
In the background, within a large framed inset, is a view of life on the river, the arc of the Nihonbashi bridge and the summit of Mount Fuji are visible in the distance. Thick wooden bridge supports frame this view of the river. 'Bokashi' or gradation printing adds sensitivity to the depiction of the river and the sky.

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)

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's 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.

In the original series, Hiroshige provided a close up of the width of the bridge and the people making the crossing. In this later series this angle has been replaced with a distant view of the bridge seen from its side.

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Related subjects

Clothing and dress > Accessories > Hairstyles

Clothing and dress > Garments > Kimonos

Landscape > Water > Rivers and streams

People > Adults > Women

People > Children > Boys

Places > Asia > Japan

Transport > Infrastructure > Road bridges

Transport > Water > Boats