Page 328 - Edo: Art in Japan, 1615–1868

182 183 184
Ando Hiroshige (1797 -1858) Ando Hiroshige (1797 -1858) Ando Hiroshige (1797 -1858)
Goyu, from Fifty-three Stations of Kanaya, from Fifty-three Stations Spring Rain at Tsuchiyama, from
the Tókaidó of the Tókaidó Fifty-three Stations of the Tókaidó
1833-1834 1833-1834 1833-1834
Color woodblock print Color woodblock print Color woodblock print
Approx. 26 x 38 (lo'A x 15) Approx. 26 x 38 (ioV 4 x 15) approx. 26 x 38 (ioV4 x 15)
Nippon Express Co., Ltd., Tokyo Nippon Express Co., Ltd., Tokyo Nippon Express Co., Ltd., Tokyo
Illustrated page 273
• Like Teahouse at Mariko (cat. 181), • The enormous volume of traffic
this print shows an evening scene, during the Edo period produced what • Perhaps because Hiroshige was
but the mood is quite different. While amounted to a virtual mobility in- born to a samurai family, he shows a 327
samurai were accorded deferential dustry, which included such workers particular sensitivity in portraying the
treatment when they stopped for a as packhorsemen, bearers, ferrymen, warrior class. Of the several daimyo
night's lodging, commoners were and porters. And because the Toku- processions he depicted in Fifty-three
occasionally met with a directness gawa regime restricted the movement Stations of the Tókaidó this one is
bordering on ferocity. Keen competi- of potentially hostile armies by not perhaps the most sympathetic: green-
tion for travelers' business led to building bridges over major rivers, and rust-clad warriors, heads bowed
a no-holds-barred approach, from this workforce was joined by a host of in the bone-chilling downpour, slowly
sleeve grabbing to a stranglehold. seminaked specialists in river fording. make their way across a bridge into
Seldom in Japanese art (or any art) The lack of bridges was inconvenient Tsuchiyama, a spot so notorious for
has such a range of facial expressions to say the least; during the rainy its rains that sometimes the post
been presented: the agonized grimace season travelers could be stranded houses were washed away. Samurai
of the man being choked, the bovine for almost a month waiting to cross. had to comport themselves with dig-
determination of his assailant, the Shallow rivers could be traversed on nity despite personal discomfort,
satisfied malevolence of the ring- foot without assistance, but deeper in contrast to the commoners Hiro-
leader, and finally, the resigned bore- ones, like the Oi River pictured here, shige shows in other prints (cat. 149),
dom of the woman watching from required other means. The price of who allow themselves the luxury of
the window, who probably witnesses carriage depended on the depth of fleeing from the rain. The rushing
similar scenes every evening. The the water and the mode of transport: river looks ready to take its toll, and
guest soaking his feet inside politely palanquin, litter, or shoulders (the the ominous cracks in the plaster of
averts his eyes. The names of the first two are pictured here). Some- the dwellings do not augur well for
artist, publisher, carver, designer, and times the price was renegotiated a pleasant night's stay. The composi-
printer are cleverly included in the midstream, when the consumer had tion of this print is unique, consisting
advertised fare of the inn, providing little say in the matter. In this print almost wholly of truncated forms.
rare documentation of otherwise the palanquin bearers moving into Unusual, too, is the technique of
little-known participants in print- the deep water to the left extend shading in the trees, which suggests
making. MT their right hands to synchronize their the influence of Shijó-school paint-
stride, while those at the extreme ing. The dark, claustrophobic feeling
right negotiate with a group ready contrasts with the spaciousness of
to cross. To emphasize the width of Kanaya (cat. 183) and the peaceful,
the riverbed, Hiroshige rendered the crepuscular mood of Teahouse at
mountains in the background as Mariko (cat. 181). Hiroshige's manipu-
being much taller than they are in lation of the landscapes' emotional
reality. MT expression in this series undoubtedly
helped launch him from obscurity
into fame. MT