Station 27: Kakegawa

Category

Library Item

Item no

16273

Title

Fifty-three stations by two brushes (Sohitsu gojusantsugi)

Description

In this print, Kunisada portrays a woman dressed in rustic clothing and carrying a large kettle with a child by her side. The woman wears a green floral overkimono fastened at the waist with a red and blue tie-dyed (shibori) obi belt that is tied behind her. The sleeves of the kimono have been tied back using a red cord. Across her shoulders she wears a broad brimmed straw hat (sandogasa) and she has wrapped her hair in a cloth. The woman's underkimono is navy blue with a tie-dyed diamond pattern. The boy wears a red and white tie-dyed sleeveless kimono and a blue and white check wrap. He carries a bundle in his hand.
In the background inset, Hiroshige depicts a bridge over the River Shioi and Mount Akaba in the distance. To the left, a torii gate marks the entrance to a shrine precinct and on the right hand side of the print, agricultural labourers can be seen working in the fields. Hiroshige's Hoeido edition of Kakegawa is very similar to the landscape that appears in the 'Fifty-three stations by two brushes' series. This print focuses upon the travellers crossing the bridge, two of whom are children. Kites were believed to raise the people's prayers for a good harvest up to heaven. The subject of kite flying as a religious invocation was used repeatedly by Hiroshige in his depiction of the next post-station, Fukuroi.

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.

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Related images

Related subjects

Clothing and dress > Accessories > Belts

Clothing and dress > Accessories > Hats

Clothing and dress > Garments > Kimonos

Furnishings > Furniture > Kettles

Landscape > Water > Rivers and streams

People > Adults > Women

People > Children > Boys

Places > Asia > Japan

Plants > Trees > Trees

Transport > Infrastructure > Wooden bridges

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