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The contributors to this volume study the huge woodcut generated by the artists Kuniyoshi, Hiroshige an Kunisada titled "Fifty-Three Stations of the Tokaido Road."
In the seventeenth and eighteenth centuries, Japanese provincial governors had to travel between the cities of Kyoto and Edo (modern-day Tokyo). This 300+ mile journey on the historic Tokaido Road required the presence of one to three thousand attendants (carriers). Yuki's father has been called to Edo and she, along with her mother and pet dog, must accompany him in this royal procession. Yuki does not want to go. She will miss her home and her teacher. But she must not be disrespectful so Yuki captures her thoughts in haiku, a Japanese form of poetry. Once outside the gate How will I find my way back? Will home disappear? Inspired by the woodcuts of Japanese printmaker, Hiroshige, award-winning author Gloria Whelan brings a cultural event to life through the observant eyes and thoughtful verses of a young Japanese girl. Gloria Whelan's many award-winning books include Homeless Bird for which she received the National Book Award. Her work with Sleeping Bear Press includes Yatandou and Mackinac Bridge: The Five-Mile Poem (a 2007 Michigan Notable Book). Ms. Whelan lives in Grosse Pointe Woods, Michigan. Yan Nascimbene studied at the School of Visual Arts in New York and at the University of California at Davis. His work has appeared in numerous publications including TIME. He has illustrated over 50 books, including Hachiko: The True Story of a Loyal Dog. Yan twice received the Society of Illustrators' Silver Medal and many other awards. He lives in Provence, in the village of Cotignac.
Offers a comparative study of representations of the Tôkaidô road, the most important route of Japan during the Edo (1600-1868) and Meiji (1868-1912) eras.
Hokusai ́s 53 Stations of the Tokaido 1802 is something completely different from his first square series 1801. Hokusai here employs the horizontal "landscape" format and abt the double size of his square 1801 series. In this series Hokusai focus on wonderful folkloric scenes of ordinary people going about their work, in addition to the travel scenes. Hokusai also begins to develop the landscapes that were to become a standard for later generations of Tokaido series. Hokusai develops the concept of the Tokaido print from cartoon to folklore and the beginning of landscape. He builds on a b/w guide, Tokaido meisho zue from 1797, ISBN 9781956773316. It was a great and early contribution to the growing Tokaido literature, which Hokusai dominated for some 30 years.
In Strange Tales from Edo, William Fleming paints a sweeping picture of Japan’s engagement with Chinese fiction in the early modern period (1600–1868). Large-scale analyses of the full historical and bibliographical record—the first of their kind—document in detail the wholesale importation of Chinese fiction, the market for imported books and domestic reprint editions, and the critical role of manuscript practices—the ascendance of print culture notwithstanding—in the circulation of Chinese texts among Japanese readers and writers. Bringing this big picture to life, Fleming also traces the journey of a text rarely mentioned in studies of early modern Japanese literature: Pu Songling’s Liaozhai zhiyi (Strange Tales from Liaozhai Studio). An immediate favorite of readers on the continent, Liaozhai was long thought to have been virtually unknown in Japan until the modern period. Copies were imported in vanishingly small numbers, and the collection was never reprinted domestically. Yet beneath this surface of apparent neglect lies a rich hidden history of engagement and rewriting—hand-copying, annotation, criticism, translation, and adaptation—that opens up new perspectives on both the Chinese strange tale and its Japanese counterparts.
Hokusai ́s 53 Stations of the Tokaido 1806 Horizontal is the last known full Tokaido series by Hokusai. It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long life ́s work. It is different from much of Hokusai ́s other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai explores novel ways of designing the print, further developing what he started in the 1804 Horizontal Tokaido. Hokusai experiments with person themes, voids and white space but also do great full landscapes and humorous encounters on the road.
Hokusai ́s 53 Stations of the Tokaido1801 is something completely different! It is his first. It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long life ́s work. It is different from much of Hokusai ́s other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus on the landscape and the markers that Hiroshige and others showed. Instead Hokusai focus on the events, the interactions between the travellers, the tales that you will share with your friends when you get back home. It was a great and earlier contribution to the Tokaido literature.
Hokusai ́s 53 Stations of the Tokaido 1804 Vertical is something completely different from his 1801 and 1802 series and from the 1804 horizontal. It is different from his famous 36 Views of Mt Fuji 1832, which are sublime artistic expressions distilling a long life ́s work. This series shows his development of the themes based on the two first series, 1801 and 1802, and a transition to his 1804 horizontal series, which again is a precursor to his sublime 36 Views of Mt Fuji. As the reader progresses through Hokusai ́s Tokaido series it will become evident how Hokusai develops the concept, develops the format, the themes and then mixes them with true genius. This series is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus only on the landscape and the markers that Hiroshige and others showed.
This classic Japanese story of humor and adventure is available here for the first time in digital format. A pair of irrepressible scoundrels are the heroes of this madcap chronicle of adventure, full of earthy humor, along the great highway from Tokyo to Kyoto. The lusty tale of their disreputable doings is Japan's most celebrated comic novel. Shank's Mare was originally issued serially beginning in 1802, and was so successful that the author wrote numerous sequels, appearing year by year, until 1822. This novel portrays all the varied colors in Japan's Tokugawa era and its humor typifies the brash and devil-may-care attitude of the residents of Tokyo, both then and now.
Hokusai ́s 53 Stations of the Tokaido 1805 - 1806 is something completely different! It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long life ́s work. It is different from much of Hokusai ́s other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus on the landscape and the markers that Hiroshige and others showed. Instead Hokusai focus on the events, the interactions between the travellers, the tales that you will share with your friends when you get back home. It was a great and earlier contribution to the Tokaido literature