Yatsugiri-ban format woodblocks are an intimate way to view their well-known versions as they force you, the viewer, to get up close to them and admire their details. This rendition of Hiroshige’s Shôno, from his series 53 Stations of the Tôkaidô Road, is no exception, while also taking artistic license to accentuate certain aspects within the original composition.
The Woodblock Print
A small yatsugiri-ban format of the original, this was likely published in the mid to late 1800s or very early 1900s. A beautifully rendered edition, this one heavily emphasizes the night and rain facing the travelers on the road. Some discoloration from the tape on the verso as well as parts of the front margin, bleeding into the print but in dark areas so it blends.
About the Artist
Born in Edo as Tokutaro Ando, Hiroshige grew up in a minor samurai family. His father belonged to the firefighting force assigned to Edo Castle. It is here that Hiroshige was given his first exposure to art: legend has it that a fellow fireman tutored him in the Kano school of painting, though Hiroshige’s first official teacher was Rinsai. Though Hiroshige tried to join Utagawa Toyokuni’s studio, he was turned away. In 1811, young Hiroshige entered an apprenticeship with the celebrated Utagawa Toyohiro. After only a year, he was bestowed with the artist name Hiroshige. He soon gave up his role in the fire department to focus entirely on painting and print design. During this time he studied painting, intrigued by the Shijo school. Hiroshige’s artistic genius went largely unnoticed until 1832.
In Hiroshige’s groundbreaking series of woodblock prints, The 53 Stations of the Tokaido (1832-1833), Hiroshige captured the journey along the Tokaido road, the highway connecting Edo to Kyoto, the imperial capital. With the Tokugawa Shogunate relaxing centuries of age-old restrictions on travel, urban populations embraced travel art and Hiroshige became one of the most prominent and successful ukiyo-e artists. He also produced kacho-e (bird-and-flower pictures) to enormous success. In 1858, at the age of 61, he passed away as a result of the Edo cholera epidemic.
Hiroshige’s prints continue to convey the beauty of Japan and provide insight into the everyday life of its citizens. The appeal of his tender, lyrical landscapes was not restricted to the Japanese audience. Hiroshige’s work had a profound influence on the Impressionists and Post-Impressionists of Europe: Toulouse-Lautrec was fascinated with Hiroshige’s daring diagonal compositions and inventive use of perspective, Van Gogh literally copied two prints from Hiroshige’s famed series, 100 Famous Views of Edo in oil paint.