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Station 13: Numazu
Kunisada I (Toyokuni III), 1854, Wood cut
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Station 13: Numazu
Station 13: Numazu
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Item no
16258
Title
Fifty-three stations by two brushes (Sohitsu gojusantsugi). Station 13: Numazu.
Description
A seated woman unfolds a bolt of blue cloth while the man standing to her left looks at the quality of the fabric. The man's hairstyle and sword suggest that he is a samurai. He wears a green and grey plaid kimono fastened at the waist with a purple obi belt. In his hand he holds an uchiwa fan and behind him lies his sword.
The woman's hair is modestly dressed and she wears a purple kimono decorated with a random pattern of fabric strips and rectangular cuttings. Her kimono is edged in black around the neckline and in sage green at the hem. Her obi belt bears a red and white starburst design which compliments her red undergarment. The two figures probably reference a popular kabuki play of this period.
In the background inset, Hiroshige depicts Mount Fuji, a lesser mountain range and a large town with a castle. This view most closely resembles Hiroshige's 'Reisho Tokaido' print edition that was published by Marusei in 1850. The Hoeido edition (1832-4) focuses on travellers on a pilgrimage to the Kompira 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:
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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Women
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Asia
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Japan
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