Hiroshige Kunisada Kuniyoshi 53 Pairings of the Tokaido


Book Description

This series, Fifty-three Pairings of the Tokaido Road, Tokaido gojusan tsui, popularly called Pairs Tokaido or 53 Parallels for the Tokaido Road, was published in 1845-1846. It is a unique cooperation between three artists: Utagawa Hiroshige, Utagawa Kunisada and Utagawa Kuniyoshi and five publishers: Ibaya Kyubei, (Ibaya Senzaburo (Dansendo)) and Kojimaya Jubei, Enshuya Matabei, Ebiya Rinnosuke (Kaijudo) and Iseya Ichibei. The special feature of this Pairs Tokaido is the pairing of a print for each station with a legend, a wonderful, dramatic, historic or supranatural story. These stories are told partly by the print theme, partly by accompanying text in a cartouche. Sometimes there is a poem. It is a very enjoyable tour!




Hiroshige Kunisada Kuniyoshi 53 Pairings of the Tokaido


Book Description

This series, Fifty-three Pairings of the Tokaido Road, Tokaido gojusan tsui, popularly called Pairs Tokaido or 53 Parallels for the Tokaido Road, was published in 1845-1846. It is a unique cooperation between three artists: Utagawa Hiroshige, Utagawa Kunisada and Utagawa Kuniyoshi and five publishers: Ibaya Kyubei, (Ibaya Senzaburo (Dansendo)) and Kojimaya Jubei, Enshuya Matabei, Ebiya Rinnosuke (Kaijudo) and Iseya Ichibei. The special feature of this Pairs Tokaido is the pairing of a print for each station with a legend, a wonderful, dramatic, historic or supranatural story. These stories are told partly by the print theme, partly by accompanying text in a cartouche. Sometimes there is a poem. It is a very enjoyable tour!




Hiroshige Kunisada Kuniyoshi 53 Pairings of the Tokaido


Book Description

This series, Fifty-three Pairings of the Tokaido Road, Tōkaidō gojūsan tsui, 東海道五十三対, popularly called Pairs Tōkaidō or 53 Parallels for the Tokaido Road, was published in 1845-1846. It is a unique cooperation between three artists: Utagawa Hiroshige, Utagawa Kunisada and Utagawa Kuniyoshi and five publishers: Ibaya Kyūbei, (Ibaya Senzaburô (Dansendô)) and Kojimaya Jûbei, Enshûya Matabei, Ebiya Rinnosuke (Kaijudô) and Iseya Ichibei. The special feature of this "Pairs Tōkaidō" is the pairing of a print for each station with a legend, a wonderful, dramatic, historic or supranatural story. These stories are told partly by the print theme, partly by accompanying text in a cartouche. Sometimes there is a poem. It is a very enjoyable tour!




Hiroshige 53 Stations of the Tokaido Aritaya


Book Description

All the way through Hiroshige follows certain design principles of proportion of elements, arranging elements and views by diagonals and parallels and balancing of color elements. Compared to most of his other Tokaido series Hiroshige in Aritaya focus on letting the landscape tell the story instead of letting people or legend do that, although this is not followed through completely.




Impressions


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Craft Culture in Early Modern Japan


Book Description

Articles crafted from lacquer, silk, cotton, paper, ceramics, and iron were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and their facture was a matter of serious concern among makers and consumers alike. In this innovative study, Christine M. E. Guth offers a holistic framework for appreciating the crafts produced in the city and countryside, by celebrity and unknown makers, between the late sixteenth and mid-nineteenth centuries. Her study throws into relief the confluence of often overlooked forces that contributed to Japan’s diverse, dynamic, and aesthetically sophisticated artifactual culture. By bringing into dialogue key issues such as natural resources and their management, media representations, gender and workshop organization, embodied knowledge, and innovation, she invites readers to think about Japanese crafts as emerging from cooperative yet competitive expressive environments involving both human and nonhuman forces. A focus on the material, sociological, physiological, and technical aspects of making practices adds to our understanding of early modern crafts by revealing underlying patterns of thought and action within the wider culture of the times.




The Burlington Magazine


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Andon


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Van Gogh Landscapes


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Vincent Van Gogh (1853 – 1890) is often mentioned as one of the best examples of Japonism, Western art inspired by Japanese art. Van Gogh was infatuated with a vision of Japanese art. He experienced this mainly from Japanese woodblock prints which became widely available after Commodore Matthew Perry forced Japan to open with the Convention of Kanagawa in 1854 after abt 250 years of seclusion. Van Gogh and his brother Theo dealt in these prints for a while and Van Gogh´s studio was literally plastered with them. Van Gogh vision of Japan was a mythical fantasy, an ideal for the artist, and he even tried to establish an artist´s colony to live out this dream. Japan, on the other hand, and especially the woodblock print artists, were inspired by earlier Dutch engraved prints, which had a profound influence on artists like Katsushika Hokusai from abt 1800. It was from these prints Western perspective entered into Japanese art. In the period from abt 1800 to 1850 Japanese prints evolved with Hokusai´s 36 Views of Mt Fuji and became the inspiration that met painters like van Gogh. In a way, what these Western artists saw, was a Japanese mirror of their own processed artistic tradition.




Kuniyoshi


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