Page 325 - Edo: Art in Japan, 1615–1868

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Ando Hiroshige (1797 -1858) Ando Hiroshige (1797 -1858) Ando Hiroshige (1797 -1858)
Dawn in Shinagawa, from Fifty-three Kawasaki, from Fifty-three Stations Teahouse at Mariko, from
Stations of the Tókaidó of the Tokaido Fifty-three Stations of the Tókaidó
1833-1834 1833-1834 1833-1834
Color woodblock print Color woodblock print Color woodblock print
x
Approx. 26 x 38 (lo'A x 15) Approx. 26 x 38 (ioV4 x 15) Approx. 26 x 38 (io /4 x 15)
Nippon Express Co., Ltd., Tokyo Nippon Express Co., Ltd., Tokyo Nippon Express Co., Ltd., Tokyo
Illustrated page 272
• The third print in Hiroshige's • One of the prominent aspects of
• Shinagawa was the first station on Tókaidó series shows the Rokugó Edo-period travel was the opportunity
324 the Tókaidó for westbound travelers ferry, which crosses the Tama River at to sample the country's astonishing
from Edo and the last stop for people Kawasaki, a sight the artist depicted diversity of local products. Nearly
coming from Kyoto. This print depicts a number of times. The view is across every region had its distinctive spe-
what would have been a common the Tama River to the west, leading cialty or "famous product" (meibutsu).
sight on the Tokaido, a daimyo pro- the eye with a great semicircular Mariko's specialty, tororojiru, is usually
cession — all clad in smart blue sweep along the path of the ferry translated as "yam soup," but tororo,
costumes with the customary two heading toward the left, then back a marvelous seasonal delicacy, is a
swords — performing the obligatory to the right through the picturesque white potato that when grated raw
trek from their domains to the thatch roofs of the village of Kawa- and added to broth is incomparably
shogun's capital. They move stiffly saki (now an extension of Tokyo's subtle, satisfying, and nourishing. In
through the early morning, as rosy urban sprawl), and on toward Mount addition to its gustatory reputation,
streaks of dawn break in the sky. Fuji on the horizon. Hiroshige has the station at Mariko possessed liter-
Although Katsushika Hokusai had dwelt with loving detail on the scene, ary distinction: it was immortalized
also treated the subject of early morn- investing it with his usual anecdotal by the poet Matsuo Bashó: "Young
ing departures, no print artist could warmth. The ferry is laden with a leaves of plum / And at the Mariko
surpass Hiroshige's capacity for low-ranking samurai, his women, and way station / A broth of tororojiru."
lyricism. His skill is seen especially some tradesmen, one strapping the Influenced by Bashó's poem, Hiro-
in the expressive poses of the dimin- load to his shoulder-pole in prepara- shige incorporated the motif of plum,
utive figures, from the boldly co- tion to disembark. On the far shore a which he showed as blossoming, thus
quettish teahouse waitress standing more diverse group, consisting of a setting the season as early spring.
by the lanterns left of the procession rich person in a palanquin, his squat-
to the rather shy white-clad figure ting, seminaked bearer, his well- To this mood he added another note
of lyricism, that magical, liminal
barely visible in the doorway of the dressed retinue, and a packhorse time before sunset, suggested by the
second inn from the left. The anony- laden with enormous barrels, waits peach-colored glow in the sky. The
mous artisan who inked the blocks to board for the return trip. Visible in print extends to the viewer a powerful
brilliantly captured the appearance the background is the ticket office, invitation to empathize with all of
of a dawn sky. The great ships at sea where yet another customer puts in the characters in the scene, from the
remind us that the name Shinagawa for passage; a solitary log-poler satisfied traveler resuming his jour-
means "Goods River" — products from pushes off from shore. Crossing cost ney, to the two hungry diners, to the
all over the land entered Edo there. ten coppers for all but samurai, who
Also famous for its cherry blossoms, traveled free of charge. Sheaves of rustic serving woman, a child on her
back, who represents stability in the
Shinagawa thrived as a place for dried rice straw to the right mark
people to see friends off on their the season as autumn, adding to the transitory world of the traveler. MT
westward journey from Edo. MT lyrical quality of the print. MT