Torii Gate of Atsuta Shrine at Miya Station
Born in 1797 in the Yayosu Riverbank section of Edo, he was orphaned at the age
of twelve. Replacing his father as the fire warden, he also soon took up an
apprenticeship with woodblock print maker, Utagawa Toyohiro (an outstanding
disciple of the Utagawa School). Toyohiro was known for his elegant and
refined portraits of beautiful women. Although he started with book
illustrations, Hiroshige eventually progressed to nishiki-e, single
sheet multicolored prints of actors, warriors and beautiful women. He
created illustrations for a book of comic poetry and for illustrated story
pamphlets.
In 1823 Hiroshige, at the age of 26, resigned from his position as the fire warden,
handing it over to his son Nakajiro. Around the 1830’s Hiroshige first
started to work in the genre of landscape prints. His series of ten prints,
“Famous Pace of the Eastern Capital” which he created about this time was
the first of many successful ventures series. Heavily influenced by
Hokusai, he copied the series idea from the artists’ popular “Thirty-six Views of
Mount Fuji” (see Hokusai).
Hiroshige joined an official procession to Kyoto traveling over the Tokaido highway in 1832.
The Tokaido or Eastern Sea Road, was the main route between Edo and Kyoto.
From this trip Hiroshige created “Fifty-three Stages of the Tokaido”, a
series of prints depict the way-stations along the Tokaido. In these images
the viewer travels through a variety of local scenes observing local customs
and dress. Each print depicts the landscape, the road and the people who
interact with these. Although figures are almost always in these prints,
they do not appear to be the most important feature. Their presence assists
in the understanding of the landscape by giving a sense of scale and
location but do not detract from the focus of the elements of nature.
This series “Fifty-three Stages of the Tokaido”, gained much of its popularity because
of the publication of the novel Going by Shank’s Mare along the Tokaido (Tokaidochu
hizakurige) by Jippensha Ikku. Published in 1802, this novel was widely
ready by the commoner class and made the trip between Edo and Kyoto one of
the most popular ventures leading to a tourist industry of sorts to build up
around it. Due to the success of such a series, Hiroshige then produced
“Sixty-nine Stages of the Kisokaido,” “Famous Places of Kyoto,” “Eight
Famous Views of Omi Province,” and “Illustrated Famous Places of Naniwa
[Osaka].”
He was known for creating a large number of prints, over eight
thousand, which helped to popularize the genre of landscape. He was a
dedicated and low-paid employee, never breaking contracts with publishers or
missing a deadline. With an easygoing disposition, and a steady and
methodical work ethic, Hiroshige became one of the most popular ukiyo-e
artists only after his death in 1858. His work continues to be loved for
the use of restrained form and color harmony and quiet, unassuming humility
toward nature.
Below are the images from the following sets
that are in the collection of Lawrence University:
Ogura Nazotae Hyakunin Isshu
36.028
The Courtesan Yagegiri of Oginoya Brothel and a Portrait of the Preist Jakureri - 1846
Jakuren was a poet and a Buddhist monk was instrumental in compiling the
Shinkokinshu (New
Collection of Ancient and Modern Waka), around 1205 – 1206, which included
thirty-five of his own works. The poem card at the top of this image depicts
an image of the poet and his poem which was number eighty-seven in the
well-known Ogura Hyakunin Isshu (One Hundred Poems by 100 Artists), a
collection of tanka (five line poems of 31 syllables, arranged as 5,
7, 5, 7, 7).
Poem Card
Most famous for his series of views along the Tokaido and
of Edo and its surrounds, Hiroshige was also a prolific artist with a
variety of subject matters. This sheet of three poem cards would have been
cut into three separate prints.
64.151
Three Unserved Tanzaku
Right: Girl Playing with a Battledore in the New Year
Center: A Court Lady on an Outing for Picking herbs in the New Year
Left: Paper Hina Dolls and a Peach Branch
Famous Places in the Eastern Capital (Toto Meishi)
64.243
Sazaido Hall, Gohyaku Rakan Temple
38.142
Birds-eye view of Kasumigaseki District
38.119
Birds-eye view of Kinryuzan Temple, Asakusa
36.099
Festival at Shinmei Shrine, Shiba
38.113
Festival at Shinmei Shrine, Shiba
36.040
Sunrise at Susaki on a Snowy Morning
36.113
Street Scene at the Festival Akabane Suitengu Shrine
36.114
Snowy Morning at Nihonzutsumi, Yoshiwara
36.115
In the Precincts of Shinmei Shrine, Shiba
64.241
Kinryuzan Temple, Asakusa
64.243
Sazaido Hall, Gohyaku Rakan Temple
One Hundred Famous Views of Edo
(Meisho Edo Hyakkei)
Though probably most known for his
numerous editions of images from the Tokaido, Hiroshige also produced a
number of prints and editions of other well known landscape sites. Among
them were Famous Places of the Eastern Capital, Famous Places in
the Sixty-Odd Provinces, and Thirty-six Views of Mt. Fuji, among
others. These few were a modern interpretation of a much earlier tradition
in which Chinese artists and poets would paint and write about important
locales. As in his Tokaido prints, however Hiroshige imbued these modern
views with a sense of a specific contemporary time and place often employing
a more western perspective and showing modern day viewers inhabiting the
scene.
This series is the largest print series of ukiyo-e, including 118 different
prints published over an extended period by Uoei publishing house from 1856 to 1858.
Not all were by Hiroshige, some were done by his pupil Shigenobu (1826-1869)
using the name Hiroshige II, after Hiroshige’s death. In 1856, 37 were published,
71 in 1857, and 10 in 1858. They were grouped according to season with 42
dedicated to spring, 30 for summer, 26 of autumn and 20 for winter. In this series
there are two types of landscape prints. The first is enkei or
“views from a distance” that have elevated viewpoints, the second type has a
single element, such as tree branches, in the foreground with landscapes
shown through the element. This second style creates for the viewer, the
feeling of being present in the scene, and depth is developed by
juxtaposition with exaggerated liner perspective. This is an extremely
dynamic and unique perspective for ukiyo-e.
38.026
The Plum Garden in Hameido
64.247
The Landscape Garden of a Temple in Nippori
02.01.602
Haneda Ferry and Benten Shrine
36.012
Street Scene Nihonbashi Tori-itchome
36.087
Sanno Shrine Festival Procession on the Street Kujimachi, Itchome
36.088
View of Precession of Nichiren Believers Crossing Bridge, Shibaura
36.089
The Fudo Waterfall at Oji
36.090
View of Suidobashi Bridge, Surugadai: The Boys Festival Day
36.096
Hanayashiki (Flower Garden) at Dangozaka in Sendagi
38.021
Dyers' District, Konya-cho, Kanda
64.248
The Poet Basho's Memorial Hermitage on Tsubakiyama Hill by the Sekiguchi Aqueduct
Kameido was just outside the city of Edo. Its celebrated plum orcharge Kameido Umeyashiki was by they Kameido-tenjin shrine. This particular plum tree the Garyubai “Reclining Dragon” was unusual and famous. In 1880 the tree died after a flood and in its place a plaque was erected to commemorate it. Hiroshige highlights the twisting branches that gave the tree its name by placing them in the foreground of his print, with visitors in the background. In reality, the tree was fenced off only allowing visitors to see it only from a distance. Vincent van Gogh copied this print to study visual devises and compositional juxtaposition.
This print is a very late edition.
Nippori, the name meaning “the village of life, day in, day out”, was a quiet, restful area of one of the busiest cities. Several monasteries and Shinto shrines- most notable were Myoryuji, Shushoin, and Shounji as well as the gardens made this area popular for relaxation. This view shows the artificial hills and rocks created for the gardens of the Shushoin monastery. In the distance is a gate to the road to Suwa-jinja a Shinto shrine. To the right of this are the roofs of the Banjinsha shrine for the guardian-deities of Buddhist scriptures. These are all among the blooming cherry trees of spring.
This picture, like image 38.026 The Plum Garden in Kameido, places an object in the foreground for the viewer to look through creating a dynamic juxtaposition of line and sense of depth on the 2-D surface of the print. Here the object is the arms and legs of a boatman, highlighting the hairiness in contrast to the screen landscape beyond. Invoking this humor in the image Hiroshige is able to depict a common site, a ferryman conveying passengers across the Tamagawa, in a completely unfamiliar way. In the distance is a lighthouse, tress and a shrine to Benzaiten, a water deity that is one of the seven gods of happiness. This view shows Kanamejima, “Fan-Pin Island”, called so because it seemed to hold together the Haneda Bay coastline.
Date of issue August 1858.
The Nihonbashi district was the center of trade and crafts and the focal point of Edo’s unique urban culture that was featured most by ukiyo-e artists. Timber and cloth trades were particularly tied to this area. The shop featured in this print has the name Shirogya, was a leading fabric business. In 1868 Shirogiya was the first company to trade in European fabric styles. In the background of the print is a soba noodle shop with name Tokyoan on the awning above the entrance. With the warm summer heat, many of the passers-by hold paper parasols and in the center performers do the Dance of the Sumiyoshi Shrine as a messenger from the soba shop hurries to deliver a box lunch and a onna-dayu, a woman wandering singer/storyteller walked in the foreground wearing a beautiful kimono. This print, more so than some of the landscapes of this series, follows the ukyio-e themes of the “image of the floating world” by capturing a brief glimpse of a busy city street.
The Sanno-matsuri, the festival depicted here, was the main festival of the Hie-jinja Shinto shrine in the Kojimachi quarter in the center of the city. This was the family shrine of the Tokugawa line. Boys in the family made pilgrimages with offerings to the temple. The route for the procession dedicated to the deity Oyamakuni-no kami, paraded from the shrine to the castle with lanterns and artificial followers and cloth hangings set up along the way. Dances and theatrical performances were also part of this parade. This took place every other year between the 10th and 16th day of the Sixth month. Originally the procession included floats, sansha “mountain chariots,” but it became more modest. Here the Hanzomon gate of the castle is viewed as the procession moves toward it. In the center in the distance is the float of the Mimami-Demmacho quarter with a monkey in formal costume and ceremonial hat. In the foreground is the Odemmacho quarter float with the cockerel standing on a drum.
Later addition
The Kanasugibashi was built where the Tokaido Highway crosses the mouth of the Furukawa near the Zojoji monastery in the Shiba district. This area was always busy since there were many tea houses, stalls and Buddhist monasteries there. Zojoji was the resting place of the Shoguns and became a city in itself. In this picture pilgrims carry polls with red and white towels and topped with hishaku, ritual ladles. The badge on the towel has two characters which mean association (a reference to a local group of followers of a small Buddhist school). The inscriptions indicate that the pilgrims depicted here are doing a procession on the anniversary of Nichiren’s death to Honmonji monastery. On the lower left the pole advertises the publisher.
This print is from a later edition.
In the outskirts of the city, Oji was a rural, secluded area filled with rice paddies, but in the spring when the cherry trees were in bloom, and in autumn when the maple trees were turning, the area gained popularity. Oji had a Shinto shrine to Oji Inari-jinja, the harvest god constructed in 1634 there. On the 13th day of the Seventh month yari-matsur, or the Feast of the Spears occurred. Ancient dances, dengaku were preformed and visitors threw hanagasa, hats trimmed with flowers at each other. There were a large number of waterfalls in the region, the one featured in this print being the most popular. It was named Fudo in honor of a protective deity that cleared evil spirits and obstacles from the path of believes with fire and sword, he was eventually associated with healing. Ritual ablutions were held at the Fudo waterfall, though it was in actuality much smaller than Hiroshige’s image of it.
This print is from a late edition
Surugadi Hill in the Kanda district had the best view in Edo of Mt. Fuji. On the hill are mansions of the military class, which are visible in the center of the image along with the fire-watchtower, and barracks. The fukinagashi or military standards fly above the city as well as nobori, vertical banners of demons and spirits for protection against the supernatural. In the immediate forefront of the image is the koinobori, gigantic carp banner. This gogatsu-nobori, May flag, was part of the Festival of the 1st Day of the Horse, Tango-no sekku, known more commonly as the Festival of Boys. On this day if a family had a son over the age of seven they would celebrate by having the children visit and congratulate their teacher, then have a bellicose amusement called shobuuchi, battle of the irises. At home the celebration continued with a hill constructed, warrior dolls arranged and nobori flown.
This print is from a later edition.
Plum-trees, cherry-trees and flowers are all in bloom on Dangozaka, “Dumpling Slope,” in Sedagi. A lotus pond in the foreground is also a feature of this picturesque area of the city. A steep flight of steps lined with lamps and artificial rocks lead to a tall pavilion, the hanayashiki, or “pavilion of flowers.” This three-story tall structure was just south of Dangozaka, giving visitors to the pavilion a grand view of Ueno Hill and Shinobazu-no ike pond. A band of stylized clouds separates space in this print, possibly to show the two areas at different times of the year. There is no precedence for this in Hiroshige’s prints.
Although bearing a censorship mark of the 5th month, 1856, this impression is from a later edition.
Kanda was a craftsmen’s district, for practitioners of a number of different trades. This print depicts the dyer’s quarter, next to the blacksmiths’ quarter. Indigo dye was used to patter the cloth seen in the foreground, the work of Konyacho dyers. The cloth, torn into long strips with patterns in blue dye, dries on a wooden frame. This fabric would have been used for light summer kimonos, yukata, and towels, tenugui. The characters on the cloth indicate the publishers and artist, as creators of the print.
This print is unfortunately not the total composition; it has been severely trimmed.
The Kanda aqueduct featured in this print was one of the cities largest canals supplying water to the city. It started at the Inokashira-no ike pond and reached the Sekiguchi dam. Tsubakiyama hill was part of the Sekiguchi-daimachi district, and was a major attraction for the area because it was covered in flowers and contained the Suijinsha shrine on top. Dedicated to the water deity Mizuke-no me, protector of the canal, the shrine is hidden by a grove in the upper right of this image. Lower down the hill is the Ryugean “Retreat of the Dragon,” Zen monastery which became associated with Basho (1644-1694). He was one of Japan’s most famous poets. After his death a memorial mound was raised close to the building, and later a memorial pavilion was erected alongside this.
The print is a later edition.
38.026
The Plum Garden in Hameido
Kameido was just outside the city of Edo. Its celebrated plum orcharge Kameido Umeyashiki was by they Kameido-tenjin shrine. This particular plum tree the Garyubai “Reclining Dragon” was unusual and famous. In 1880 the tree died after a flood and in its place a plaque was erected to commemorate it. Hiroshige highlights the twisting branches that gave the tree its name by placing them in the foreground of his print, with visitors in the background. In reality, the tree was fenced off only allowing visitors to see it only from a distance. Vincent van Gogh copied this print to study visual devises and compositional juxtaposition.
This print is a very late edition.
Fifty-three Stations of the Tokaido
(Tokaido Goju-san Tsugi no Uchi)
As the busiest highway in the 18th and
early 19th centuries, the Tokaido offered numerous chances to
experience a variety of social classes and day-to-day activities. Numerous
images of this highway were created during the Edo period, some in singular
views and others in series, the most famous of which are Hiroshige’s
numerous editions. The images depicted the commercial activity along the
road and famous views seen on the journey. Hiroshige, in particular, also
chose many of the views based on varying times of year and the weather
conditions that offered an ever-changing impression of the landscape.
Greatly influenced by his teacher Utagawa Toyoharu,
Hiroshige often employed perspective views rather than the more traditional
stacked and flattened views of the landscape found in the Kano school of
painting. This slightly more western view helps to explain his popularity
among 19th century artists in Europe.
64.252
Daybreak at Nihonbashi Bridge- No. 1
38.038
Lively Scene at Nihonhashi Bridge- No. 1
36.032
Rokugo Ferry at Kawasaki Station- No. 3
36.112
Shinmachi Bridge at Hodogaya Station- No. 5
36.111
Morning Mist at Mishima Station- No. 12
36.041
Numazu Station: The Famous Product Dried Bonito Fish- No. 13
36.075
Twilight at Numazu Station- No. 13
38.027
The Peak of Satta Pass near Yui Station- No. 17
36.033
Roadside Tea House at Fuchu Station- No. 21
36.073
Sayo no Nakayama Mountain near Nissaka Station- No. 26
38.025
The Tenryu River near Mitsuke Station- No. 29
36.031
Ferry Boats on the Tenryu River at Mitsuke Station- No. 29
36.037
Toyokawa Bridge at Yoshida Station- No. 35
36.039
Goyu Station: A Wayside Tea House and Travelers- No. 36
36.034
Yahagi Bride at Okazaki Station- No. 39
36.036
Horse Fair in the Early Summer at Chiryu Station- No. 40
36.108
Narumi Station: Shop Selling the Famous Product Tie-dyed Arimatsu Fabrics- No. 41
36.035
Torii Gate of Atsuta Shrine at Miya Station- No. 42
02.016.03
The historical place Shiratori mound and the porters taking a short rest, Shono Station- No. 46
02.016.01
Kameyama Station, resting porters along tree lined path- No.47
36.116
Tsuchiyama Station: Rain Fall at Mt. Suzuka- No. 50
Edition: Tsutakichi Tokaido
Though Hiroshige’s most famous series was called “Fifty-three Stations of the Tokaido,” most editions actually included fifty-five images as the artist executed both the beginning point of the traditional journey, Nihonbashi bridge in Edo, and the terminus of the highway in Kyoto. Here the famous bridge in the center of Edo is bathed in early morning light, representing both a spiritual and a literal beginning of a long journey.
Edition: Hoeido Tokaido (first Tokaido series)
This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture.
This was station number four.
Edition: Hoeido Tokaido (first Tokaido series)
This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture.
One of Hiroshige’s most famous images “Morning Mist at Mishima Station” shows the artist’s interest in the ever-changing effects of light, dark and atmosphere. This was station number eleven.
Walking along the road towards the Kinpira Shrine are a parent and child on a pilgrimage and a man carrying a large mask of the god Sarudahiko on his back. A line of houses at the way station are in the background glowing form the light of the moon in the darkening evening. A sense of distance and quietude of the long travels are created by the bend of the road, the scale of the people in the foreground and background, and even the slumped posture of the travelers.
Edition: Hoeido Tokaido (first Tokaido series)
In this image, near station number sixteen, Hiroshige shows travelers about to get a majestic view of Mt. Fuji. Long a traditional subject matter in Kano style painting, views of Mt. Fuji were charged with national pride and an important sense of place to the Japanese. The artist combines this ancient tradition with a far more popular and temporal sense of place.
Edition: Hoeido Tokaido (first Tokaido series)
The Tenryu River, was just east of the Mitsuke station number twenty-eight. Mitsuke, or "Catching Sight" was where travelers got their first glimpse of Mt. Fuji. This image depicts travelers waiting for the ferry in the drizzling rain. Notice Hiroshige's use of atmospheric effect in the background, showing once again his interest in climate and changing weather as it affects how the environment is viewed.
This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture.
This image represents station number twenty-nine. Though often fordable by foot, during heavy rains the Tenryu river was deep and swift and many boatmen plied their trade ferrying travelers across the river.
This was station thirty-five along the Tokaido. A whole new economy sprang up along the Tokaido when the Shogun made it a requirement for noblemen to make annual trips between the Shogun’s castle in Edo and the Emperor’s palace in Kyoto. Strategically placed inns, teahouses, and other shops offered places of rest and entertainment along the almost 300 mile long route.
Edition: Gyosho Tokaido (named after the calligraphy style used)
This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture.
Narumi station was number 40.
Edition: Gyosho Tokaido (named after the calligraphy style used)
This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture.
The pass at Mt. Suzuka was well-known for being an arduous and hard climb during the rainy season when the route turned into a muddy slough. In many of his Tokaido images, Hiroshige would depict the scene based on popular associations. Such images helped to cement travelers’ expectations and served as informal records of the trip. This was station number forty-nine.
64.252
Daybreak at Nihonbashi Bridge- No. 1
Edition: Tsutakichi Tokaido
Though Hiroshige’s most famous series was called “Fifty-three Stations of the Tokaido,” most editions actually included fifty-five images as the artist executed both the beginning point of the traditional journey, Nihonbashi bridge in Edo, and the terminus of the highway in Kyoto. Here the famous bridge in the center of Edo is bathed in early morning light, representing both a spiritual and a literal beginning of a long journey.
Famous Places in Kyoto
(Kyoto Meisho no Uchi)
36.071
Cherry Trees in Bloom at Arashiyama
Famous Places of Edo
(Edo Meisho no Uchi)
64.245
Blooming Cherry Flowers on the Bank of the Sumida River
36.109
Scene at the Precincts of Shinmei Shrine, Shiba
36.110
Scene at the Precincts of the Fudo Temple in Meguro
64.034
Cherry Blossom Viewing at Nishi Honganji Temple, Tsukiji
64.035
Overspread View from Kasumnigaseki Street
64.240
Kojimachi Street in Front of Dry-goods Store, Iwakiya
64.244
Scene from Front of the Daimon Gate of Zojoji Temple, Shiba
38.036
Fireworks at Ryogoku
This image was originally a part of architect Frank Lloyd Wright’s collection of Japanese woodblock prints. It along with 36 others came to the Wriston from a benefactor who received them from Wright in lieu of a payment for printing services. Many of the prints have Wright’s handwritten notations in the margins. Though many of the Wright works in our collection are of lesser quality, the images serve as an example of the interest in Asian art that so informed Wright’s architecture.
Kasumnigaseki Street was part of the quarter inhabited by Samurai and retainers. During almost the entire Edo period, Samurai, no longer needed to wage wars sought official posts in and around Edo. Their large numbers, relative economic independence, and surfeit of time made the pleasure quarters of Edo a bustling, dynamic center of Kabuki theater, brothels, and teahouses.
64.245
Blooming Cherry Flowers on the Bank of the Sumida River
Sixty-eight Views of Various Provinces
(Shokoku Rokuju-hakkei)
64.237
Kumeji Bridge in Shinano Province- No. 24
Pictures of Famous Places at the Fifty-three Stations
(Goju-san Tsugi Meisho Zue)
[Vertical Tokaido Series]
36.095
View of Shinagawa Station from Gotenyama Hill- No. 1
36.094
The Villiage Namamugi Alongside the Tsurumi River at Kawasake Station- No. 3
36.091
View of Mt. Fuji from the Mountain Road at Totsuka Station- No. 6
38.124
View of Mt. Fuji from the Mountain Road at Totsuka Station- No. 6
36.072
Travelers Wading Across the Seto River at Fujieda Station- No. 23
38.122
View of Nako Bay and the Mie River at Yokkaichi Station- No. 44
03.014
The Villiage in the Mountain, Fujikawa Station in snow fall
Often palaces decorated with traditional Kano painting would
have rooms devoted to each season of the year. Though appealing to a far
less sophisticated audience, Hiroshige continued an interest in the
seasons frequently depicting particular stations along the Tokaido in a
variety of climactic conditions. Fujikawa was station number
thirty-seven. Though innovative in both his use of a more western
perspective and in many of his subject matters, Hiroshige, nevertheless,
evinced a careful understanding of Japanese landscape traditions.
36.095
View of Shinagawa Station from Gotenyama Hill- No. 1
Enumerations of Bridges in Famous Places of Edo
36.097 / 38.112
Bridge Nihonbashi
Nihonbashi was Edo's most famous bridge.
Enumerations of Provinces: Pictures of Miscellaneous Images
38.037
Basket-Crossing Over Valley in the Hida Mountains
A New Selection of Famous Places in Edo
64.246
Cherry Blossom Viewing at Asukayama Hill
Forty-eight Views of Famous Places in Edo
(Edo Meisho Shiju-hakkei)
38.039
Great Fireworks at Ryogoku- No. 22
38.035
Birds-eye View of Eitai Bridge- No.29
Many evening activities revolved around the Sumida River when a cool breeze allowed a break from the warm summer days. Food stalls, restaurants and pleasure boats were common attractions, but the most exciting event was Kawabiraki, the opening of the river. Including a great firework display, this occasion began in the eighteenth century and continued until modern times. Here you can see the evening disk bringing out all the viewers on boats as the bright fireworks are in full swing high about the water.
38.039
Great Fireworks at Ryogoku- No. 22
Many evening activities revolved around the Sumida River when a cool breeze allowed a break from the warm summer days. Food stalls, restaurants and pleasure boats were common attractions, but the most exciting event was Kawabiraki, the opening of the river. Including a great firework display, this occasion began in the eighteenth century and continued until modern times. Here you can see the evening disk bringing out all the viewers on boats as the bright fireworks are in full swing high about the water.
Ukiyo-e
Artists
Home
Lawrence University Home