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- Herausgeber: BoD - Books on Demand
- Kategorie: Religion und Spiritualität
- Sprache: Englisch
- Veröffentlichungsjahr: 2024
Utagawa Hiroshige´s two Thirty-six Views of Mount Fuji series, 1852 and 1858 are both a copy act and in themselves innovative artistic endeavors. Katsushika Hokusai published his famous series Thirty-six Views of Mount Fuji in 1830-1832 and it influenced Hiroshige tremendously to his own series Thirty-six Views of Mount Fuji series 1852 which we deal with here. It is in the same horizontal format for landscapes that Hokusai used. In a subsequent series Thirty-six Views of Mount Fuji published in 1858 Hiroshige shifted to the vertical portrait format with novel and interesting results. We deal with that in a separate volume. It is possible to travel to see the same sites today and enjoy the views of Mt Fuji, which is still very important to the Japanese.
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About the authors
Cristina Berna loves photographing and writing. She also creates designs and advice on fashion and styling.
Eric Thomsen has published in science, economics and law, created exhibitions and arranged concerts.
Also by the authors:
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World of Art
Hokusai – 36 Views of Mt Fuji
Hiroshige 69 Stations of the Nakasendō
Hiroshige 53 Stations of the Tōkaidō
Hiroshige 100 Famous Views of Edo
Hiroshige Famous Vies of the Sixty-Odd Provinces
Hiroshige 36 Views of Mt Fuji 1852
Hiroshige 36 Views of Mt Fuji 1858
Joaquin Sorolla Landscapes
Joaquin Sorolla Beach
Joaquin Sorolla Boats
Joaquin Sorolla Animals
Joaquin Sorolla Family
Joaquin Sorolla Nudes
Joaquin Sorolla Portraits
and more titles
Outpets
Deer in Dyrehaven – Outpets in Denmark
Florida Outpets
Birds of Play
Christmas Nativity
Christmas Nativity – Spain
Christmas Nativities Luxembourg Trier
Christmas Nativity United States
Christmas Nativity Hallstatt
Christmas Nativity Salzburg
Christmas Nativity Slovenia
and more titles
Christmas Markets
Christmas Market Innsbruck
Christmas Market Vienna
Christmas Market Salzburg
Christmas Market Slovenia
and more titles
Missy’s Clan
Missy’s Clan – The Beginning
Missy’s Clan – Christmas
Missy’s Clan – Education
Missy’s Clan – Kittens
Missy’s Clan – Deer Friends
Missy’s Clan – Outpets
Missy’s Clan – Outpet Birds
and more titles
Vehicles
Construction vehicles picture book
Trains
American Police Cars
and more titles
Contact the authors
Published by www.missysclan.net
Cover picture: print no 13, Wind-tossed Waves
at Seven-Mile Beach in Sagami Province
Inside: print no 25, Mt Fuji seen from
Kanagawa, a village on the far East side
Contents
Introduction
Utagawa Hiroshige
The Thirty-Six Views of Mt Fuji
No. 1: Sawtooth Mountain in Awa Province
No 2: The Seashore in Izu Province
No 3: The Tanabata Festival in the Great City of Edo
No 4: Inume Pass in Kai Province
No 5: Ōtsuki Plain in Kai Province
No 6: Fuji Seen from Behind at Dream Mountain in Kai Province
No 7: The Sea at Kanagawa
No 8: Shrine Gate Pass at Rokusozan in Kazusa Province
No 9: The Sea at Kisarazu in Kazusa Province
No 10: The Coast at Tenjinyama in Kazusa Province
No 11: The Valley of Amida’s Decent at Ōyama in Sagami Province
No 12: The Sagami River
No 13: Wind-tossed Waves at Seven-Mile Beach in Sagami Province
No 14: Lake Suwa in Shinano Province
No 15: Konodai in Shimōsa Province
No 16: Satta Peak in Suruga Province
No 17: Tago Bay in Suruga Province
No 18: Fuji River in Suruga Province
No 19: Fuji Marsh in Suruga Province
No 20: Nawata in Ōmori on the Tōkaidō
No 21: Aoyama in Edo
No 22: Asuka Hill in Edo
No 23: Edobashi Bridge and Nihonbashi Bridge in Edo
No 24: Eitai Bridge and Tsukudajima in Edo
No 25: Rice Paddies at Kinoshitagawa in Edo
No 26: Suidō-bashi bridge in Edo
No 27: The Bank of the Sumida River in Edo
No 28: Surugadai in Edo
No 29: Chiyo Point at Meguro in Edo
No 30: Riverbank at Yamashita-chō in Edo
No 31: Under the Ryōgoku Bridge in Edo
No 32: Lake in the Mountains of Hakone
No 33: The Embankment at Koganei in Musashi Province
No 34: The Jewel River in Musashi Province
No 35: Musashi Plain
No 36: The Sea at Honmoku in Musashi Province
References
Introduction
Utagawa Hiroshige’s two Thirty-six Views of Mount Fuji series, 1852 and 1858 are both a copy act and in themselves innovative artistic endeavors.
Katsushika Hokusai published his famous series Thirty-six Views of Mount Fuji in 1830-1832 and it influenced Hiroshige tremendously to his own series Thirty-six Views of Mount Fuji series 1852 which we deal with here.
It is in the same horizontal format for landscapes that Hokusai used. In a subsequent series Thirty-six Views of Mount Fuji published in 1858 Hiroshige shifted to the vertical portrait format with novel and interesting results. We deal with that in a separate volume.
It is possible to travel to see the same sites today and enjoy the views of Mt Fuji, which is still very important to the Japanese.
Cristina and Eric
Utagawa Hiroshige
Utagawa Hiroshige (in Japanese: 歌川 広重), also called Andō Hiroshige (in Japanese: 安藤 広重;), was a Japanese ukiyo-e artist, considered the last great master of that tradition. He was born 1797 and died 12 October 1858.
Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica. The term ukiyo-e (浮世絵) translates as "picture[s] of the floating world".
Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the Tōkaidō, and for his vertical-format landscape series One Hundred Famous Views of Edo and for instance the 69 Stations of the Nakasendō.
The main subjects of his work are considered atypical of the ukiyo-e genre, whose focus was more on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868).
The Edo period was a period with strong feudal control by the Tokugawa shogunate, with stability and economic growth, very closed to outside influence, although methods were imported and applied for a flowering cultural and artistic life.
The popular series Thirty-six Views of Mount Fuji by Katsushika Hokusai (ISBN ES 978-8-411-744-935) was a strong influence on Hiroshige's choice of subject. Hiroshige's approach is more poetic and ambient, much more detailed, than Hokusai's bolder, more formal and focused prints.
Where Hokusai gives you an immediate experience just from looking at his prints, with Hiroshige you have to look more carefully, devote more time, to decipher the details and the meaning.
Subtle use of color was essential in Hiroshige's prints, often printed with multiple impressions in the same area and with extensive use of bokashi (color gradation), both of which were rather labor-intensive techniques.
Hiroshige: Print 27: Futami Bay in Ise Province, Thirty-six Views of Mount Fuji 1858 ISBN ES 978-8-413-731-148 https://commons.wikimedia.org/wiki/File:27_-_Futami_Bay.jpg
For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868.
The Meiji Restoration followed in 1868 after Commodore Matthew C Perry had forced Japan to open its ports to foreign ships in 1853. It meant an end to the shogunate, the feudal ruling system, restored the powers to the emperor who centralized government and industrialization.
Hiroshige's work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism.
Western artists, such as Manet and Monet, collected and closely studied Hiroshige's compositions. Vincent van Gogh even went so far as to paint copies of two of Hiroshige's prints from One Hundred Famous Views of Edo.
Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo (modern Tokyo). He was of a samurai background, and is the greatgrandson of Tanaka Tokuemon, who held a position of power under the Tsugaru clan in the northern province of Mutsu.
Wind Blown Grass Across the Moon – by Hiroshige https://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Wind_Blown_Grass_Across_the_Moon_-_Utagawa_Hiroshige_(Ando).jpg
Hiroshige studied under Toyohiro of the Utagawa school of artists. Hiroshige's grandfather, Mitsuemon, was an archery instructor who worked under the name Sairyūken. Hiroshige's father, Gen'emon, was adopted into the family of Andō Jūemon, whom he succeeded as fire warden for the Yayosu Quay area.
Returning Sails at Tsukuda, from Eight Views of Edo, Utagawa Toyohiro between 1802 and 1828, Brooklyn Museum online, image: Opencooperhttps://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Returning_Sails_at_Tsukuda_from_Eight_Views_of_Edo_-_Utagawa_Toyohiro.jpg
Hiroshige went through several name changes as a youth: Jūemon, Tokubē, and Tetsuzō. He had three sisters, one of whom died when he was three. His mother died in early 1809, and his father followed later in the year, but not before handing his fire warden duties to his twelve-year-old son. He was charged with prevention of fires at Edo Castle, a duty that left him much leisure time.
Not long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting. He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him. A librarian introduced him instead to Toyohiro of the same school.
By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige. He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.
Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai or, from 1832, Ichiryūsai. In 1823, he resigned his post as fire warden, though he still acted as an alternate. He declined an offer to succeed Toyohiro upon the master's death in 1828.
It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be
known for, such as the Eight Views of Ōmi series. He also created an increasing number of bird and flower prints about this time. About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji
