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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.
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.
Keisai Eisen (1790 -1848) is especially known for his bijin-ga, pretty women, and landscapes. He is well known for his participation in the series 69 stations of the Nakasendo together with Hiroshige. The series A Tokaido Board Game of Courtesans, Fifty-three Pairings in the Yoshiwara use the Tokaido with landscape inserts as an excuse for showing courtesans and geisha, bijin-ga, to skirt the censorship. It was published 1821-1823. His bijin-ga are considered to be masterpieces of the "decadent" Bunsei Era (1818-1830). Most of them have impressive hairdo with many ornamental hairpins and combs. Their dress is extravagant with beautiful patterns and sublime embroideries. Their faces are elongated squares with long noses and small pouted painted mouths. Courtesans were desirable for their rich and splendid attire, not so much for their beauty and their names were actually like trademarks for a series of girls performing the same name role with the brothel in question.
The Aritaya Fifty-three Stations of the Tokaido Road, Tōkaidō gojūsan tsugi no uchi, 東海道五十三次之内, is one of the most beautiful of Hiroshige's huge production of landscape print series in spite of its small size. It is only abt 10 x 15 cm (with variations), Yotsugiri yokoban (quarter ōban). It is also unusual in that it is a veritable full course and manual in landscape print design. It is a very rewarding study. 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 Tōkaidō 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.
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.
The reader may already be acquainted with the Hoeidō series (1833-34) of The Fifty-Three Stations of the Tōkaidō, author’s ISBN 978-1-956215-09-0. This was the most popular print series ever made in Japan. In this Kyōka series (a different publisher, 1838) we follow Hiroshige on the same journey from Edo, modern day Tokyo, to Kyoto, when he travelled the road to participate in an important procession in 1832. There were 53 post stations along this important road, apart from the start and terminus, in all 55 prints, which are all here in the order from Edo to Kyoto. The reader experiences the same journey with a completely different set of prints and can compare to the Hoeidō series. It is possible to travel the same road today and some villages are still looking quite like they did back then. The postal stations were constructed between 1601 and 1624.
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