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- Herausgeber: BoD - Books on Demand
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2024
The cooperative work between Hiroshige and Kunisada (1854 -1855) is probably the most romantic of all the Tokaido editions. Both Hiroshige and Kunisada did their own individual versions with the same type of theme - a combination of landscape and often unrelated portraits based in legend and other motifs. But they did not rise to the level of elegance of the "Two Brush" Tokaido. The figures and the landscape are very well balanced and the colors are fresh and joyful. The "Two Brush" Tokaido is both a tour through the landscape of Japan and a cultural introduction. The reason for the combination of landscape and theater was to circumvent censorship of the popular kabuki theater 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 United States
Christmas Nativity Hallstatt
Christmas Nativity Salzburg
Christmas Nativity Slovenia
Christmas Market Innsbruck
Christmas Market Vienna
Christmas Market Salzburg
Christmas Market Slovenia
and more titles
Contact the authors
Published by www.missysclan.net
Cover picture:
Front: no 2 Shinagawa, Geisha in her Dressing Room
Rear: no 13 Numazu, he Ashitaka Mountains and Numazu Station (Ashitakayama, Numazu shuku); Actor Bando Mitsugorō III as Jūbei, with Oyone
Inside: No 54 Otsu, Mount Ōsaka and the Spring at the Barrier Gate (Ōsaka-yama, seki no kiyomizu): Actor Sawamura Sōjūrō III as Ōtomo no Kuronushi, author of the poem Kagamiyama (Detail).
Contents
Introduction
Utagawa Hiroshige
Utagawa Kunisada
The Fifty-Three Stations of the Tōkaidō
The Two Brushes Tōkaidō Details
No 1: Start: Nihonbashi
No 2: 1st station: Shinagawa-juku
No 3: 2nd station: Kawasaki-juku
No 4: 3rd station: Kanagawa-juku
No 5: 4th station: Hodogaya-juku
No 6: 5th station: Totsuka-juku
No 7: 6th station: Fujisawa-shuku
No 8: 7th station: Hiratsuka-juku
No 9: 8th station: Ōiso-juku
No 10: 9th station: Odawara-juku
No 11: 10th station: Hakone-juku
No 12: 11th station: Mishima-shuku
No 13: 12th station: Numazu-juku
No 14: 13th station: Hara-juku
No 15: 14th station: Yoshiwara-juku
No 16: 15th station: Kanbara-juku
No 17: 16th station: Yui-shuku
No 18: 17th station: Okitsu-juku
No 19: 18th station: Ejiri-juku
No 20: 19th station: Fuchū-shuku
No 21: 20th station Mariko-juku
No 22: 21st station Okabe-juku
No 23: 22nd station: Fujieda-juk
No 24: 23rd Shimada-juku
No 25: 24th station Kanaya-juku
No 26: 25th station: Nissaka-shuku
No 27: 26th station: Kakegawa-juku
No 28: 27th station: Fukuroi-juku
No 29: 28th station: Mitsuke-juku
No 30: 29th station: Hamamatsu-juku
No 31: 30th station: Maisaka-juku
No 32: 31st station: Arai-juku
No 33: 32nd station: Shirasuka-juku
No 34: 33rd station: Futagawa-juku
No 35: 34th station Yoshida-juku
No 36: 35th station: Goyu-shuku
No 37: 36th station: Akasaka-juku
No 38: 37th station: Fujikawa-shuku
No 39: 38th station: Okazaki-shuku
No 40: 39th station: Chiryū-juku
No 41: 40th station: Narumi-juku
No 42: 41st station: Miya-juku
No 43: 42nd station: Kuwana-juku
No 44: 43rd station: Yokkaichi-juku
No 45: 44th station: Ishiyakushi-juku
No 46: 45th station: Shōno-juku
No 47: 46th station: Kameyama-juku
No 48: 47th station: Seki-juku
No 49: 48th station: Sakashita-juku
No 50: 49th station: Tsuchiyama-juku
No 51: 50th station: Minakuchi-juku
No 52: 51st station: Ishibe-juku
No 53: 52nd station: Kusatsu-juku
No 54: 53rd station: Ōtsu-juku
No 55: terminus: Sanjō Ōhashi (Kyoto)
References
Introduction
The cooperative work between Hiroshige and Kunisada (1854-1855) is probably the most romantic of all the Tokaido series.
Both Hiroshige and Kunisada did their own individual versions with the same type of theme – a combination of landscape and often unrelated portraits based in legend and other motifs.
But they did not rise to the level of elegance of the “Two Brush” Tokaido.
The figures and the landscape are very well balanced and the colors are fresh and joyful.
The “Two Brush” Tokaido is both a tour through the landscape of Japan and a cultural introduction.
The reason for the combination of landscape and theater was to circumvent censorship of the popular kabuki theater prints.
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 HundredFamous Views of Edo with Eisen 1835 - 1842.
Utagawa Hiroshige, memorial portrait by fellow artist Kunisada, image: Alonso de Mendoza https://commons.wikimedia.org/wiki/File:Portrait_%C3%A0_la_m%C3%A9moire_d%27Hiroshige_par_Kunisada.jpg
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 in a flowering cultural and artistic life.
The popular series Thirty-six Views of Mount Fuji by Hokusai (ISBN ES 978-8411-744-935) was a strong influence on Hiroshige's choice of subject. Hiroshige's approach is more ambient and much more detailed than Hokusai's bolder, more poetic and formal and focused prints.
Famous Views of the Sixty-odd Provinces, print 9: Owari Province, Tsushima Tenno Festival (evening) ISBN ES 978-8-413-731-629
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. 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 1863. It meant an end to the shogunate, the feudal ruling system, restored the powers to the emperor who centralized government and industrialization.
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'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.
Returning Sails at Tsukuda, from Eight Views of Edo,
from Eight Views of Edo, Utagawa Toyohiro between 1802 and 1828, Brooklyn Museum online, https://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Returning_Sails_at_Tsukuda_from_Eight_Views_of_Edo_-_Utagawa_Toyohiro.jpg
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 samuraibackground, and is the great-grandson of Tanaka Tokuemon, who held a position of power under the Tsugaru clan in the northern province of Mutsu.
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.
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 978-8411-744-935).
Print no 30: Plum Estate, Kameido
