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- Herausgeber: BoD - Books on Demand
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2024
What was Japan like in 1853, when this portrait was started by Utagawa Hiroshige with one print from each of the 69 provinces. It is an outstanding picture book from just before photography. Hiroshige travelled the Tokaido road to participate in an important procession in Kyoto in 1832 and published his 53 Stations of the Tokaido (Hoeido) which was the most popular print series ever made in Japan, see the authors ISBN ES 978-8-413-731-469. It was even more popular than Hokusais series Thirty-six Views of Mount Fuji, which had been recently published and which had influenced Hiroshige tremendously ISBN ES 978-8-411-744-935. The Famous Views from the Sixty-Odd Provinces contains some of Hiroshiges most beloved prints and he again uses the horizontal format he pioneered for landscape prints.
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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:
World of Cakes
Luxembourg – a piece of cake
Florida Cakes
Catalan Pastis – Catalonian Cakes
Andalucian Delight
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
Christmas Nativity – Spain
Christmas Nativities Luxembourg Trier
Christmas Nativity Hallstatt
Christmas Nativity Salzburg
Christmas Nativity Slovenia
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
Copenhagen vehicles – and a trip to Sweden
Construction vehicles picture book
Trains
American Fire Trucks
American Police Cars
American National Guard
And more titles
Contact the authors
Published by www.missysclan.net
Cover picture: print 36, Sado Province, The Goldmines(detail), a little masterpiece
Inside: print 42, Izumo Province, Taisha, Depiction of Hotohoto(detail), one of the most original
Contents
Introduction
Utagawa Hiroshige
Famous Views of the Sixty-Odd Provinces
No 1: Yamashiro
No 2: Yamato
No 3: Kawachi
No 4: Izumi
No 5: Settsu
No 6: Iga
No 7: Ise
No 8: Shima
No 9: Owari
No 10: Mikawa
No 11: Totomi
No 12: Suruga
No 13: Kai
No 14: Izu
No 15: Sagami
No 16: Musashi
No 17: Edo
No 18: Awa
No 19: Kazusa
No 20: Shimosa
No 21: Hitachi
No 22: Omi
No 23: Mino
No 24: Hida
No 25: Shinano
No 26: Kozuke
No 27: Shimotsuke
No 28: Mutsu
No 29: Dewa
No 30: Wakasa
No 31: Echizen
No 32: Kaga
No 33: Noto
No 34: Etchu
No 35: Echigo
No 36: Sado
No 37: Tanba
No 38: Tango
No 39: Tajima
No 40: Inaba
No 41: Hoki
No 42: Izumo
No 43: Iwami
No 44: Oki
No 45: Harima
No 46: Mimasaka
No 47: Bizen
No 48: Bitchu
No 49: Bingo
No 50: Aki
No 51: Suo
No 52: Nagato
No 53: Kii
No 54: Awaji
No 55: Awa
No 56: Sanuki
No 57: Iyo
No 58: Tosa
No 59: Chikuzen
No 60: Chikugo
No 61: Buzen
No 62: Bungo
No 63: Hizen
No 64: Higo
No 65: Hyuga
No 66: Osumi
No 67: Satsuma
No 68: Iki
No 69: Tsushima
Original title page - table of contents
Feudal map of Edo Japan
References
Introduction
What was Japan like in 1853, when this portrait was started by Utagawa Hiroshige with one print from each of the 69 provinces. It is an outstanding picture book from just before photography.
Hiroshige travelled the Tōkaidō road to participate in an important procession in Kyoto in 1832 and published his 53 Stations of the Tōkaidō (Hoeidō) which was the most popular print series ever made in Japan, see the author’s ISBN ES 978-8-413-731-469.
It was even more popular than Hokusai’s series Thirty-six Views of Mount Fuji, which had been recently published and which had influenced Hiroshige tremendously ISBN ES 978-8-411-744-935.
The Famous Views from the Sixty-Odd Provinces contains some of Hiroshige’s most beloved prints and he again uses the horizontal format he pioneered for landscape prints.
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, which is the subject of this book, and for his vertical-format landscape series One Hundred Famous Views of Edo.
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 and a flowering cultural and artistic life.
The popular series Thirty-six Views of Mount Fuji by Hokusai (ISBN ES 978-8-411-744-935) was a strong influence on Hiroshige's choice of subject. Hokusai's bolder more poetic, more focused and ambient approach, than Hiroshige´s much more detailed, more formal and more “photo”-like prints.
Where Hokusai gives you an immediate, poetic 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.
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.
Hiroshige: Print 27: Futami Bay in Ise Province, Thirty-six Views of Mount Fuji 1858 ISBN ES 978-8-413-731-148https://commons.wikimedia.org/wiki/File:27_-_Futami_Bay.jpg
The Meiji Restoration followed in 1868 after Commodore Matthew C Perry had forced Japan to open its ports to foreign 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 great-grandson 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 Hiroshigehttps://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 had recently seen publication (ISBN ES 978-8-411-744-935).
An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.
Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige-based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.
Hiroshige's first wife helped finance his trips to sketch travel locations, in one instance selling some of her clothing and ornamental combs. She died in October 1838, and Hiroshige remarried to Oyasu, sixteen years his junior, daughter of a farmer named Kaemon from Tōtōmi Province.
Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints. Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo over the last decade of his life, beginning about 1848.
Hokusai: Yoro Waterfall in Mino Province (Mino no kuni Yoro no taki), from the series Tour of the Waterfalls in Various Provinces (Shokoku Takimeguri), c. 1933. Hokusai´s landscapes are usually in horizontal format, but the waterfall series is vertical, to fit the long fall of the water. The difference in stylebetween Hokusai and Hiroshige is clearly visible.https://commons.wikimedia.org/wiki/File:Katsushika_Hokusai_-_Ono-Wasserfall_am_Kisokaido.jpeg
Hiroshige lived in the barracks until the age of 43. Gen'emon and his wife died in 1809, when Hiroshige was 12 years old, just a few months after his father had passed the position on to him.
Although his duties as a fire-fighter were light, he never shirked these responsibilities, even after he entered training in Utagawa Toyohiro's studio. He eventually turned his firefighter position over to his brother, Tetsuzo, in 1823, who in turn passed on the duty to Hiroshige's son in 1832.
Hiroshige II was a young print artist, Chinpei Suzuki, who married Hiroshige's daughter, Otatsu. He was given the artist name of "Shigenobu".
Hiroshige intended to make Shigenobu his heir in all matters, and Shigenobu adopted the name "
View of the Whirlpools at Awa triptych, 1857, part of the series "Snow, Moon and Flowers”https://commons.wikimedia.org/wiki/File:Utagawa_Hiroshige._The_swirls_of_the_Naruto_Strait_in_the_province_of_Awa._1857.jpg
Hiroshige" after his master's death in 1858, and thus today is known as Hiroshige II. However, the marriage to Otatsu was troubled and in 1865 they separated. Otatsu was remarried to another former pupil of Hiroshige, Shigemasa, who appropriated the name of the lineage and today is known as Hiroshige III.
Both Hiroshige II and Hiroshige III worked in a distinctive style based on that of Hiroshige, but neither achieved the level of success and recognition accorded to their master. Other students of Hiroshige I include Utagawa Shigemaru, Utagawa Shigekiyo, and Utagawa Hirokage.
Suō Iwakuni, Hiroshige II, 1859. Compare to print 51.https://commons.wikimedia.org/wiki/File:Hiroshige_II_Su%C5%8D_Iwakuni.jpg
