Station 25: Kanaya

Category

Library Item

Item no

16271

Title

Fifty-three stations by two brushes (Sohitsu gojusantsugi). Station 25: Kanaya

Description

This print depicts the kabuki character Miyuki Asagao colourfully dressed in a kimono sewn from many different strips of patterned fabric. The fabric of one section of the kimono has a design made from kabuki actors' crests. She holds a white folding fan which has been inscribed with a poem by her lover Miyagi Asojiro. She wears a red Morning Glory (asagao) flower in her hair and an image of the same flower appears on her fan. In the kabuki play Miyuki Asagao is separated from Asojiro and she becomes blind as a result of weeping for him. She abandons her home to search for him and survives by performing as a blind musician. In this print, Asagao is depicted kneeling on the ground next to her musical instrument and bamboo walking stick.
The play's happy conclusion (Asagao is cured of her blindness and reunited with her lover, Asajiro) takes place on the banks of the Oi River.
In the background inset, Hiroshige presents a view of the Enshu Bank of the River Oi with a snow-covered Mount Fuji in the distance. Hiroshige's Hoeido edition focuses on the activity of the travellers crossing the Oi River.
This print is comparable to 'Kanaya' in Kunisada's series of diptychs '53 Stations of the Tokaido' that was published in 1852 by Iseya, Tsujiokaya, Izutsuya and others. Based on this comparison, the female character is Miyuki Asagao performed by the onnagata actor Bando Shuka I in the kabuki play 'Sho utsuhi Asagao nikki'.

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:
December 1854, (Tiger year, 12th 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.

Exhibitions with this item

Other views of this item

Related images

Related subjects

Clothing and dress > Accessories > Walking sticks

Clothing and dress > Garments > Kimonos

Landscape > Land > Mountains

Landscape > Water > Rivers and streams

People > Adults > Women

People > Entertainment and sports > Actors

Places > Asia > Japan

Sport and leisure > Culture > Musical instruments

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