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The Scenic Places of the Tokaido (Tokaido Meisho no Uchi) by 17 artists is based on the list of prints on the Kunisada Project website run by Dr Horst Graebner with a total of 162 ukiyo-e prints. It is a fantastic work, an effort presumably directed by the shogun´s political office to commemorate his attempt to preserve a joint rulership with the emperor over Japan. It differs from the many other Tokaido series by the large number of prints, at least three times as many in a series. If differs by the number of people in the prints - the procession consisted of 3,000 people. It also marks the end of the ukiyo-e Tokaido, where the forced travel of the daimyo - sankin-kotai - had contributed so much to the economic and cultural development along these roads and indeed to the whole print making industry. The shogun abolished sankin-kotai in 1862.
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About the authors
Cristina Berna loves photographing and writing. She writes to entertain a diverse audience.
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 113 Shiratori Myojin, between 48th and 49th stations.
Rear: print no 113 detail
Inside: print No 4 Shiba (Edo) between 1st and 2nd stations
Contents
Introduction
The Scenic Places of Tōkaidō
Artists
Utagawa Kunisada 1786-1865
Ikkaisai Yoshitoshi 1839 - 1892
Hiroshige II Utagawa 1829-1869
Yoshimune Utagawa 1817-80
Ichieisai Yoshitsuna (Kōko) 1862-1866
Kyosai Kawanabe 1831-1889
Ikkeisai Yoshiiku 1833 - 1904
Yoshitora Utagawa active ca. 1840-1880
Yoshikata Utagawa active ca 1841 – 1864
Sadahide Utagawa 1807-1873
Kunitsuna Utagawa 1805-68
Ikkosai Yoshimori 1830-84
Yoshitoshi Taiso 1839-1892
Itto Kunichika 1835-1900
Tsuyanaga Utagawa active 1860s
Kunifuku Utagawa active 1854 -1864
Kunisada II Utagawa 1823 - 1880
The Fifty-Three Stations of the Tōkaidō
No. 01, Start: Nihonbashi
No. 02, Lance Decorations (Edo)
No. 03, Ebisu-ya store at Owari, Edo
No. 04, station: Edo Shiba Shinbashi
No. 05, station: Shiba Zojoji
No. 06, station: Kanasugibashi Shibaura
No. 07, station: Honshiba fuda no tsuji
No. 08, station: Takanawa okido
No. 09, station: Takanawa ushigoya
No. 10, station: Shinagawa Yatsuyama no shita
No. 11, 1
st
station: Shinagawa
No. 12, station: Samezu
No. 13, station: Suzugamori
No. 14, station: Omori
No. 15, 2
nd
station: Kawasaki
No. 16, station: Daishigawara
No. 17, station: Tsurumi
No. 18, station: Namamugi
No. 19, 3
rd
station: Kanagawa Urashima
No. 20, 3
rd
station: Kanagawa
No. 21, 3
rd
station: Kanagawa, ships
No. 22, 4
th
station: Hodogaya
No. 23, 4
th
station: Hodogaya sono ni
No. 24, station: Gontazaka
No. 25, station: Kamakura Kanazawa
No. 26, station: Yuigahama
No. 27, station: Kamakura Shichirigahama
No. 28, station: Enoshima
No. 29, 5
th
station: Totsuka
No. 30, 6
th
station: Fujisawa
No. 31, 6
th
station: Fujisawa Yukoji
No. 32, station: Yotsuya
No. 33 station: Nanko
No. 34, 7
th
station: Hiratsuka
No. 35, station: Shigitatsusawa
No. 36, 8
th
station: Ōiso
No. 37, station: Umesawa
No. 38, station: Sakawagawa
No. 39, 9
th
station: Odawara
No. 40, 9
th
station: Odawara, sea waves
no. 41, 10
th
station: Hakone
No. 42, 10
th
station: Hakone sanchu Kageishi
No. 43, 10
th
station: Hakone toji
No. 44, 10
th
station: Hakone-batake
No. 45, 10
th
station: Hakone sanchu
No. 46, 11
th
station: Mishima
No. 47, 12
th
station: Numazu
No. 48, station: Tago no ura hebimatsu
No. 49, 13
th
station: Hara
No. 50, station: Kashiwabara hidari Fuji
No. 51, 14
th
station: Yoshiwara
No. 52, 15
th
station: Kanbara
No. 53, station: Takashi no ura
No. 54, 16
th
station: Yui
No. 55, station: Satta no toge
No. 56, 17
th
station: Okitsu
No. 57, 17
th
station: Seikenji (Okitsu)
No. 58, station: Miho no matsubara
No. 59, 18
th
station: Ejiri
No. 60, station: Kunosan
No. 61, 19
th
station: Fuchu
No. 62, station: Abegawa
No. 63, 20
th
station: Mariko
No. 64, station: Utsunoya toge
No. 65, 21
st
station: Okabe
No. 66, 22
nd
station: Fujieda
No. 67, 23
rd
station: Shimada
No. 68, 24
th
station: Kanaya Nissaka
No. 69, 24
th
station: Kanaya
No. 70, station: Sayo no Nakayama
No. 71, 25
th
station: Nissaka
No. 72, 26
th
station: Kakegawa
No. 73, station: Akibasan
No. 74, station: Horai-ji
No. 75, 27
th
station: Fukuroi
No. 76, 28
th
station: Mitsuke
No. 77, 28
th
station: Tenryugawa
No. 78, 29
th
station: Hamamatsu
No. 79, 30
th
station: Maisaka
No. 80, 31
st
station: Arai
No. 81, 32
nd
station: Shirasuka
No. 82, 33
rd
station: Futagawa
No. 83, station: Jokyu Hachiman
No. 84, 34
th
station: Yoshida
No. 85, 34
th
station: Yoshida
No. 86, station: Toyokawa
No. 87, 35
th
station: Goyu
No. 88, 36
th
station: Akasaka
No. 89, 37
th
station: Fujikawa
No. 90, 38
th
station: Okazaki
No. 91, 39
th
station: Chiryu Yatsubashi
No. 92, 39
th
station: Chiryu
No. 93, 40
th
station: Narumi
No. 94, 40
th
station: Narumi Arimatsu shibori
No. 95, 39
th
station: Chiryu
No. 96, station: Okehazama
No. 97, 41
st
station: Miya
No. 98, 42
nd
station (Miya): Atsuta ichi no torii
No. 99, 42
nd
station: Miya eki Atsuta no yashiro
No. 100, station: Nagoya
No. 101, station: Saya
No. 102, 42
nd
station: Kuwana
No. 103, station: Kuwana shinkiro
No. 104, 43
rd
station: Yokkaichi
No. 105, 43
rd
station: Yokkaichi oiwake
No. 106, station: Ise Geku
No. 107, 44
th
station: Ishiyakushi
No. 108, station: Ishiyakushi sono ni
No. 109, 45
th
station: Shono
No. 110, 46
th
station: Kameyama
No. 111, 47
th
station: Seki
No. 112, 48
th
station: Sakanoshita
No. 113, station: Shiratori Myojin
No. 114, 49
th
station: Tsuchiyama
No. 115, 49
th
station: Tsuchiyama
No. 116, 49
th
station: Tsuchiyama
No. 117, 50
th
station: Minakuchi
No. 118, 51
st
station: Ishibe
No. 119, station: Zeze
No. 120, 52
nd
station: Kusatsu
No. 121, station: Seta no Karahashi
No. 122, station: Ishiyama no shugetsu
No. 123, 53
rd
station: Otsu
No. 124, station: Hieizan
No. 125, station: Otsu Miidera
No. 126, terminal station: Kyoto shishinden
No. 127, station: Kyoto sandai
No. 128, terminal station: Rakuchu
No. 129, station: Kyo Arashiyama
No. 130, station: Iwashimizu
No. 131, station: Kamogawa yuran
No. 132, station: Shijogawara
No. 133, station: Gojobashi
No. 134, station: Kyo Kiyomizudera
No. 135, station: Kyo Tsuiji Jomeimon
No. 136, station: Kyo, Ouchi kemari no yuran
No. 137, station: Rashomon no ko zu
No. 138, station: Kyoto Tojiin, Ashikaga
No. 139, station: Yodogawa
No. 140, station: Gion seirei
No. 141, station: Kyoto meisho, Shimbara
No. 142, station: Yamazaki
No. 143, station: Kyo Kamo
No. 144, station: Kamigamo
No. 145, station: Tadasugawara
No. 146, station: Shimogano
No. 147, station: Kamo no keiba
No. 148, station: Uji
No. 149, station: Fukakusa no ri
No. 150, station: Fujinomori some (right)
No. 151, station: Fujinomori some (left)
No. 152, station: Naniwa Tenpozan
No. 153, station: Hyogo Tsukishimadera
No. 154, station: Nachi no taki
No. 155, station: Kishu Kata no ura
No. 156, station: Kyoto no uchi, Ouchi
No. 157, station: Kyoto oidetach, leaving
No. 158, station: Shibaura fukei, going back
No. 159, station: Chiyoda-yashiro, going back
No. 160, station: Ono haiken no zu (Edo)
No. 161, station: Ono haiken asaban (Edo)
No. 162, station: Ono haiken hiruban
Original cover and index pages
References
Introduction
The Scenic Places of the Tōkaidō (Tōkaidō Meisho no Uchi) by 17 artists is based on the list of prints on the Kunisada Project website run by Dr Horst Graebner with a total of 162 ukiyo-e prints.
It is a fantastic work, an effort presumably directed by the shogun’s political office to commemorate his attempt to preserve a joint rulership with the emperor over Japan.
It differs from the many other Tōkaidō series by the large number of prints, at least three times as many in a series. If differs by the number of people in the prints – the procession consisted of 3,000 people.
It also marks the end of the ukiyo-e Tōkaidō, where the forced travel of the daimyō - sankin-kōtai - had contributed so much to the economic and cultural development along these roads and indeed to the whole print making industry. The shogun abolished sankin-kōtai in 1862.
The Scenic Places of Tōkaidō
"Tokaido Meisho no Uchi" (The Scenic Places of Tōkaidō) also known as the “Processional Tōkaidō” is a monumental work. This large series by different artists and publishers was made for the commemoration of shogun Tokugawa Iemochi's historic travel in 1863 from Edo to Kyoto to pay respect to the emperor.
The ukiyo-e series 'Tokaido meisho-no-uchi' from 1863 is often called a teamwork of different publishers and artists. It would likely be more precise to call it a coordinated project by the shogun’s political staff that was rebuffed by political competitors. In 1863 the Tokugawa shogunate was in a state of final weakness and dissolution. It was a somewhat desperate attempt to ensure a joint rule by the emperor and the shogun, or their respective staffs. The procession and the print series were like a last glittering of a glorious past. It is a tombstone that marks the end of 250 years of peaceful rule by the hereditary Tokugawa military government.
The series Tōkaidō Meisho No Uchi - The Scenic Places of the Tōkaidō is one of the largest published during the Edo period. Nevertheless, it is somewhat mysterious. Neither the precise number of prints nor the contributing artists seem to be completely clear.
An article was written as a background information at the occasion of artelino auction no. 182, which offered for sale the first part of a nearly complete set of this series. Altogether 133 different sheets had been consigned to the dealer.
The Shogunate or military government tradition started in 1185 when Yoritomo and his brother Yoshitsune from the Minamato (Genji) clan had achieved final victory against their arch-rivals, the Taira (Heike) clan in the naval battle of Dan-no-ura. After this victory, the ruthless tyrant Yoritomo (1147-1199) established the shogunate.
It was a system of hereditary leadership based on military and economic power. The emperor remained the formal head of state.
But he was without any real power and resided in Kyoto - far away from the shogun's residence. The system lasted until 1867, when the last shogun, Yoshinobu, was forced to resign. The then 17 years old Emperor Meiji moved from Kyoto to Edo (Tokyo). The shoguns however, never tried to usurp the position of the emperor even though they had the power to replace him.
Priests and the population all supported this sentimental idea that the shogun received his power from the emperor.
After a long-lasting period of civil wars with powerful regional leaders, the daimyō, Ieyasu (1543-1616) from the Tokugawa clan, could unite and pacify Japan in the early 17th century. His reign marks the beginning of the Edo period, which saw an uninterrupted rule of the Tokugawa clan as shoguns of Japan until 1867.
The era of the Tokugawa shogunate was a period of more than 250 years of peace and general prosperity. But it was also except for a very short interruption a system of total exclusion from any outside contacts ("Japan - the forbidden country") and of internal oppression. The population was divided into four classes – samurai, peasants, artisans and merchants. If commoners failed to show respect for the samurai, these might just chop your head off. Merchants were at the bottom even if they were indispensable for the smooth workings of the society and financed many samurai by loans that were often not repaid.
Towards the end of the Edo period, the Tokugawa rule was in a increasingly troubled state due to the challenges of reform. The other classes increasingly wanted a say in the governance.
The forced opening of Japan for trade with the Western powers by a U.S. naval fleet under the Commander Matthew Calbraith Perry and the subsequent Treaty of Kanagawa on 31 March 1854, added more to the weakening of the shogunate because the treaty was highly unfair.
Tariffs were low and fixed and could not be changed by Japan. Huge exports of silk and tea led to local shortages and huge price increases and foreign clothing undercut the local cotton farmers and fabric manufacturers. And all was aggravated by crop failures, an economic recession, famine and hyper inflation.
The intelligent leaders of all classes feared that Japan would fall to become a colony like China but the shogunate did not have military capacity to ensure independence.
Ieyasu Tokugawa, the founder of the Tokugawa rule, established a clever system of keeping the feudal lords under control and preventing them from becoming too powerful. The daimyo had to maintain a permanent residence in Edo (Tokyo), the new capital, and had to keep a part of the family in the Edo residence. And they had to pay their respect to the shogun in large and costly processions to the capital at fixed intervals that changed over the years from every two to four years. This led to huge traffic on the Tōkaidō and the four other roads that knitted the country together, originally for military purposes.
The processions of the feudal lords to the shogun were not the only ones. The Dutch merchants held the exclusive trade rights with Japan since ca. the beginning of the Edo period. Their presence was restricted to a small artificial island, Deshima, in Nagasaki harbor. Every four years, the small Dutch community was obliged to show their repect to the shogun in a procession with all whistles and bells. Old ukiyo-e which show such Dutch processions, belong today to the foremeost coveted collector items.
In 1862 the shogun abolished the bi annual sankin-kōtai system under which daimyo, the local lords, were required to maintain residences in Edo as well as their fiefs, and to move periodically between Edo and their fiefs, typically spending alternate years in each place. Their first wives and sons remained in Edo as hostages.
Sankin-kōtai was a major reason for the economic development along the five roads, and for the ensuing cultural development incl of ukiyo-e prints. The Tōkaidō and the other four roads with their many postal stations with inns, restaurants and tea houses and associated entertainment led this system to become an extension of the cultural activities and the pleasure quarters in Edo and the other cities. It was a vibrant travel in search of diversion and worldly pleasures in an extended “floating world”. It was a chance for the different classes to interacts across the strict Tokugawa social rules. Performing pilgrimage, enjoying landscape beauty, overcoming the hardship of travel, receiving personal services incl prostitution at the travel stations was women into a culture.
As the shogunate, designed to keep internal peace was unable to adjust to the dangerous outer world, old enemies from dispossessed daimyō families wanted revenge and the merchant and farming classes that had been excluded from formal political influence, wanted a say as well.
And last but not least, the shogun leaders themselves, had a political reason to process from Edo to the emperor's residence in Kyoto every now and then, although the procession in 1863 was the first in 239 years where the shogun himself participated.
Instead of being a show of strength, it ended up undermining the shogun who had to bow to the emperor and accept his orders, in effect transferring his power to the Kyoto court.
The famous series of the 55 Stations of the Tokaido by Ando Hiroshige (1797-1858), the “Great Tōkaidō” or Hōeidō Kunisada Project list of prints with 162 prints.
Most of the artists belonged to the Utagawa School, whose head at that time was Kunisada (Toyokuni III). Kunisada contributed 18 of the designs for this
eries. At that time he was already 78 years old. His prints in this series are signed '78 sei Toyokuni ga' (the 78 years old Toyokuni).
Kunisada Utagawa also: Toyokuni III (1786-1864) - 18 designs.
Kunichika Toyohara (1835-1900)
Hiroshige II Utagawa (1829-1869)
Kunifuku Utagawa - This artist not listed on the title page in possession of the National Diet Library of Japan.
Kunisada II Utagawa (1823-1880)
Kunitsuna Utagawa (1805-1868)
Kyosai Kawanabe (1831-1889)
Sadahide Utagawa (1807-1973)
Tsuyanaga Utagawa (student of Yoshitsuya)
Yoshiiku Utagawa (1833-1904)
Yoshikata Utagawa (active 1841-1864) - pupil of Kuniyoshi Utagawa.
Yoshimori Taguchi (1830-1884)
Yoshimune Utagawa (1817-1880)
Yoshitora Utagawa (active ca. 1840-1880)
Yoshitoshi Taiso (1839-1892)
Yoshitsuya Koko (1822-1866)
The prints of the series are well made, and look rather pleasing and interesting. The designs are like snapshots to remember your last vacations, but made with a high-end camera and taken by a professional photographer. What makes the images rather different from Hiroshige's Tokaido series, is the depiction of large numbers of people, the participants of the procession edition was born during such a procession, which the young Hiroshige was allowed to accompany as a member of the shogun's staff around the year 1830 delivering a gift of horses. Hiroshige made sketches during the travel, and after his return to Edo they were transformed into woodblock prints.
The great Hokusai had already produced several Tōkaidō series from 1801 to 1812, with a different “feel”.
Likely the shogun himself on the advice of his staff, the military government of Japan - as a kind of public relations effort to brush up the poor public image of his administration - had commissioned two large ukiyo-e series to commemorate the procession, the so-called Shogun Tokaidoseries, and Tokaido meisho-no-uchi series, with the last is the object here.
The title print that can be found on the web site of the National Diet Library of Japan (see below), mentions 155 prints from 15 artists and lists them with their names. However, among the 133 prints that had been consigned to the dealer artlino, one more was identified - the artist Kunifuku. And Dr Horst Graebner in the Kunisada Project reports about an album in possession of a collector with 160 (plus) designs from 17 artists (see below).
The present volume is based on the and the viewers along the road. This is not really a landscape series. It is a kind of people-landscape series, and that makes them more interesting. All are in portrait format (tate-e).
Another aspect is obvious and quite astonishing. Although the designs are from so many different artists - each with his own, distinctive style - the single pages have a certain common look-and-feel. If one did not know that the series was done by so many different artists, you might assume that all designs came from just one printmaker.
We could not find much information about the series itself - not in books and not on the internet. And the sources that we found, had contradictory information about the series.
Tokaido meisho-no-uchi in the National Diet Library of Japan
The most comprehensive (image) reference to this series is hard to find for Westerners. It is in Japanese language only - on the web site of the National Diet Library of Japan. The pages show 141 prints (including the title page) from this series as thumbnails that can be enlarged.
And fortunately the title page is shown. In this title page the whole series is referred to as Tokaido meisho fukei (Tokaido Famous Scenery). The title page mentions 155 prints by 15 artists. The title cartouches of the single prints use different titles.
This volume however, is expanded with all the prints mentioned on the Kunisada Project site. The images are from various sources.
Tokaido meisho no uchi, or
Tokaido no-uchi, or
Tokaido
Needless to say that the use of different titles in the cartouches contributes to more confusion.
If you cannot read Japanese, you need not give up. Use a translation help like for instance the Google toolbar. We got a pretty useable text in English.
Tokaido meisho-no-uchi on the 'Kunisada Project' is the most comprehensive. "The Utagawa Kunisada Project" is a web site dedicated to the research on the print oeuvre by Kunisada Utagawa and maintained by Dr Horst Graebner. The site mentions the Tokaido series with 162 prints as of the time of writing from 17 artists. The information is based on a complete album in the possession of Mr. Luigi Capretti, a collector.
"Very uncommon Kunisada prints for a Tokaido series from different artists designed in 1863. "Related to this series Ch. van Rappard-Boon writes: "In the second month of 1863 the shogun Iemochi traveled from Edo to Kyoto to pay his respects to the emperor. Afterwards two special Tokaido series were published to commemorate this journey. ... One of the series is titled Tokaido and has prints by twelve artists and twenty-one publishers. ... Both series contain more than the usual number of stations (55) ..." (L71, page 290)."
"About "The Tokaido" I read in an older Japanese auction catalogue that the series include 150 prints plus frontispiece, index page and so on. And than Mr. Luigi Capretti sent me an email in which he wrote that he inherited 160 prints (plus) of the series bound to a book designed by 17 different artists. All of the prints in Mr. Capretti's book have wonderful bright and fresh colors and may be first state and so I pleased him to take photos and to allow me to publish them on my site."
"With the friendly permission of the owner the complete series is presented to the public for the first time on this site. The prints in Mr. Capretti's collection all have full margins but the book has not been separated for taking the photos so not the complete print can be seen on the images. If anybody needs closeup pictures from details Mr. Capretti will send them on request."
It is possible that we may have missed or misinterpreted something. But the information that we currently have - the National Diet Library of Japan reference, the Kunisada project and the 133 prints consigned to the artlino dealers, are said not to be consistent. Maybe the explanation is to be found in different editions or later supplements to the series.
Needless to say that we have borrowed extensively from many sources to assemble this Scenes of Famous Places along the Tôkaidô Road (Tôkaidô meisho fûkei), also known as the Processional Tôkaidô (Gyôretsu Tôkaidô). Not everything is referenced but we hope it may still be helpful. All errors are of course the sole responsibility of the authors.
