Notes on Tokaido Revisited II Composites

 Stations II I Fords l Snow II I Trees  l  Kimonos

Mists  l  Twilight

Winds  l  Sails II

 Stations III l Portrait

   Travelers III l Travelers IV l Epilogue

            Tokaido Epilogue: Tokaido Epilogue represents a compilation of my favorite images represented in all of the sets of Hiroshige’s Tokaido known to and used by me at the time. For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the series from which the print originates. From top to bottom and left to right, the prints are as follows:

Row 1: a) Yui (Hoeido); b) embedded in the upper right corner of the Yui landscape is a fragment of Mishima (Hoeido); c) Ishiyakushi (Gyosho); d) Tsuchiyama (Jimbutsu); e) Kameyama (Kyoka); and f) Hakone (Hoeido);

Row 2: a) Totsuka (Reisho); b) Fuchu (Pairs); c) Namazu (Harimaze); d) Ishibe (birds fragment) (Pairs); e) Minakuchi (Reisho); f) Narumi (Harimaze); and g) Shono (Hoeido);

Row 3: a) Ejiri (Tsutaya Kichizo); b) Akasaka (full moon and falling maple leaves fragment) (Pairs); c) Kuwana (Tate-e); d) Kawasaki (Tate-e); e) Mariko (Fujikei); f) Hodogaya (Gyosho); g) Kusatsu (Harimaze); and h) Ishibe ((Reisho);

Row 4: (beginning to the right of Row 5, image a, below) a) Kawasaki (flowering quince) (Harimaze); b) Fukuroi (Gyosho); c) (jumping to right of center) Akasaka (Tsutaya Kichizo); d) Shinagawa (fan) (Harimaze); and e) Hakone (still life) (Harimaze; and

Row 5: a) Hara (Jimbutsu); b) Goyu (Reisho); c) Ishiyakushi (Jimbutsu); d) Yoshiwara (Two Brushes); e) Minakuchi (Harimaze); f) Hodogaya (Reisho); g) Chiryu (tilted bottle) (Harimaze); h) (above g) Shirasuka (Gyosho); and i) Chiryu fragment of man sleeping at the base of a tree) (Gyosho).

The background color is a solid fill of 225R – 82G – 37B, intended to simulate the color of a ripe persimmon.


           
Tokaido Fords: Tokaido Fords represents a compilation of fords (shallow crossings) of rivers and streams along the Tokaido from among many of the various editions of 53 Stations of the Tokaido now available to me.

            For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. By rows, from top to bottom and from left to right, the prints are as follows:

 Row 1: a) Kanaya fragment (attributed to Hiroshige) (Pairs), b) Kanaya (Harimaze), c) Fuchu (Hoeido), d) Odawara (Hoeido), and e) Fujieda (Jimbutsu);

Row 2 (begins and ends internally): a) Shimada (Kyoka), b) Shimada (Tate-e), c) Kanaya (Kyoka), and d) Kuwana fragment (Gyosho);

Row 3: a) Fujieda (Gyosho), b) Shimada (Reisho), c) Odawara fragment (Tsutaya), d) Kanaya (Gyosho), and e) Kanaya (Hoeido);

Row 4: a) Okitsu (Hoeido), b) Kakegawa (Tate-e), c) Shimada (Jimbutsu), d) Fujieda (Two Brushes), e) Fujieda (Tate-e), and f) Fujieda (Tsutaya);

Row 5: a) Odawara (Jimbutsu), b) Fujieda (Kyoka), c) Kusatsu (Tsutaya), d) Shimada (Hoeido), and e) Shimada fragment (attributed to Toyokuni) (Pairs).

            The background color of Red0-Green51-Blue108 was adopted from the deeper water at some of the fords.


            Tokaido Kimonos: Tokaido Kimonos represents a compilation of fragments of woodblock prints from all of the sets of the 53 Stations of the Tokaido known to and used by me at the time. For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the fragment originates. From top to bottom and left to right, excluding the circle of figures immediately surrounding the central trio of white-robed figures, are as follows:

Row 1: a) Shono (Fujikei), b) Kuwana (Two Brushes), c) Otsu (Pairs), d) Maruko (Pairs), and e) Chiryu (Two Brushes);

Row 2: (curves upward in the middle) a) Yokkaichi (Jimbutsu), b) Fuchu (Jimbutsu), c) Ishibe (Two Brushes), d) Ishibe (attributed to Kuniyoshi) (Pairs), e) Hamamatsu (attributed to Kuniyoshi) (Pairs), f) Hara (Fujikei), g) Kyoto (Two Brushes), and h) Fujisawa (Two Brushes);

Row 3: (begins and ends inboard of the side margins and also curves upward in the middle) a) Miya (Fujikei), b) Nissaka (Two Brushes), c) Sakanoshita (Two Brushes), d) Yoshida (Two Brushes) and e) Fujieda (Fujikei);

Row 4: a) Hiratsuka (Jimbutsu), b) Minakuchi (attributed to Kuniyoshi) (Pairs), c) Kakegawa (Jimbutsu), and d) Hara (Two Brushes);

Row 5: a) Hakone (Pairs), b) Hakone (Two Brushes), c) Goyu (Two Brushes), and d) Oiso (Harimaze);

Row 6: a) Kawasaki (Fujikei), b) Fujiroi (Two Brushes), c) Futakawa (Two Brushes), and d) Miya (Two Brushes);

Row 7: a) Fujisawa (Harimaze), b) Sakanoshita (Pairs), c) Akasaka (Two Brushes), d) Kanbara (Two Brushes), and e) Nihonbashi (Jimbutsu);

Row 8: (begins and ends inboard of  the side margins) a) Yui (Two Brushes), b) Hara (Pairs), c) Kakegawa (Two Brushes), and d) Fujikawa (Two Brushes);

Row 9: a) Mitsuke (Two Brushes), b) Shinagawa (Two Brushes), c) Seki (Two Brushes), d) Totsuka (Fujikei), e) Hodogaya (Two Brushes), and f) Totsuka (Pairs).

            The three central, white-robed figures are from Kusatsu (Fujikei) and are immediately surrounded by an oval of woodblock print fragments, beginning at the top of the oval and proceeding clockwise, as follows: a) Kameyama (Fujikei), b) Nihonbashi (Fujikei), c) Mishima (Fujikei), d) Kanaya (Fujikei), e) Odawara (Fujikei), f) (at the bottom of the oval) Shimada (Two Brushes), g) Oiso (Fujikei), h) Mariko (Two brushes), i) Hodogaya (Fujikei), and j) Okitsu (Fujikei).

            The background of the composite is a solid fill consisting of 228 Red, 204 Green, and 172 Blue and is intended to provide a relatively neutral background for the figures presented on it.


            Tokaido Mists: Tokaido Mists represents a compilation of misty scenes represented in various sets of the 53 Stations of the Tokaido known to and used by me at the time. To one degree or another, all of the images in this particular composite may be considered somewhat fragmentary in nature because of the partial erasures intended to enhance the impression of a misty scene. For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. From top to bottom and left to right, the prints are as follows:

Row 1: a) Mishima (Hoeido), b) Hara (Jimbutsu), c) Seki (Tate-e), d) Yoshiwara (Tate-e), and e) Sakanoshita (Hoeido);

Row 2: a) Yoshiwara (Fujikei), b) Numazu (Jimbutsu), c) Okabe (Tate-e), and d) Ejiri (Kyoka);

Row 3: (begins near the center of the composite) a) Kameyama (Pairs) (truly a fragment), and b) Nissaka (Tsutaya);

Row 4: a) Kanbara (Harimaze), b) (above c) Kameyama (Fujikei), c) (below b) Yokkaichi (Two Brushes) (left side fragment), d) Yokkaichi (Two Brushes) (right side fragment), e) Totsuka (Pairs), and f) Mitsuke (Hoeido).

            The background is a solid fill of 225 Red-220-Green-188 Blue to provide a common field of mist by which to link all of the disparate images.

            Tokaido Sails II: Tokaido Sails II represents a compilation of my favorite images of sailboats represented in all of the sets of the 53 Stations of the Tokaido  known to and used by me at the time. For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the series from which the print originates. From top to bottom and from left to right, the prints are as follows:

Row 1: a) Yui (Hoeido), b) Yoshiwara (Tate-e) fragment (flock of birds extending to row 4), c) Narumi (Two Brushes), d) Ejiri (Two Brushes), e) Mitsuke (attributed to Kuniyoshi) (Pairs) fragment (flock of three cranes), and f) Shinagawa (Hoeido);

Row 2: a) Arai (Tate-e), b) Ejiri (Tate-e), c) Kusatsu (Harimaze), d) Kusatsu (Tate-e), and e) Shirasuka (Gyosho);

Row 3: a) Arai (Gyosho), b) Maisaka (Kyoka), c) Arai (Tsutaya), and d) Maisaka (Hoeido);

Row 4: a) Kanagawa (Gyosho), b) Otsu (Harimaze) fragment (two fish), and c) Kanagawa (Hoeido);

Row 5: a) (inboard of left margin) Kusatsu (Reisho), and b) (inboard of right margin) Maisaka (Jimbutsu);

Row 6: a) Okitsu (Reisho), b) Kuwana (Reisho), and c) Maisaka (Tsutaya);

Row 7: a) Kanagawa (Jimbutsu), b) Kanagawa (Harimaze) fragment (man riding fish), c) Fukuroi (Reisho) fragment (kites), d) Mishima (Harimaze), and e) Kuwana (Gyosho);

Row 8: a) (inboard of left margin) Kanagawa (Fujikei), b) Miya (Two Brushes), c) (below b) Arai (Harimaze) (whitecap), d) Kuwana (Fujikei), and e) Okitsu (Gyosho);

Row 9: a) Kuwana (Tate-e), b) Miya (Gyosho), c) Ejiri (Hoeido), and d) Kuwana (Hoeido).

The background is a solid color fill of 71R-115G-157B (same as in Tokaido Sails I) overlain primarily with wave eddies from Fujikawa (attributed to Kuniyoshi) (Pairs). Other background elements are fragments from: Yui (Reisho) (upper right, between rows 1 and 3); Hamamatsu (Reisho) (upper left, between rows 2 and 3); Mitsuke (attributed to Kuniyoshi) (Pairs) (right side, between rows 3 and 4); Kusatsu (attributed to Kuniyoshi) (Pairs) (lower left, between rows 8 and 9); Hamamatsu (Tate-e) (bottom left, below row 9); and Kuwana (attributed to Kuniyoshi) (Pairs) (flipped) (lower right, between rows 8 and 9).


           
Tokaido Snow II: Tokaido Snow II represents a compilation of snowy scenes or fragments    from among many of the various editions of 53 Stations of the Tokaido now available to me.

            For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. By rows, from top to bottom and from left to right, the prints are as follows:

 Row 1: a) Seki (Reisho), b) Ishiyakushi (Gyosho), c) Mishima (Kyoka) and d) Kameyama (Hoeido);

Row 2: a) Shono (Two Brushes), b) Mishima fragment (Hoeido), c) Mishima fragment (Hoeido), d) Ishibe fragment (Hoeido) and e) Okabe (Two Brushes);

Row 3 (begins and ends inboard of the left and right margins of the compilation): a) Kakegawa fragment (Hoeido), b) Futagawa (Harimaze), c) Fujikawa (Harimaze) and d) Hamamatsu (Hoeido);

Row 4: Mariko (Reisho), b) Numazu (Tate-e) and c) Hara (Hoeido);

Row 5: a) Mariko (Tsutaya), b) Okabe fragment (Gyosho), c) Totsuka fragment (Gyosho) and d) Okabe (Tate-e);

Row 6 (begins and ends internally): a) Fujisawa (Jimbutsu) and b) Goyu fragment (attributed to Kuniyoshi) (Pairs);

Row 7: a) Minakuchi (Jimbutsu), b) Fujisawa fragment (Gyosho), c) Kameyama fragment (Tate-e), d) Kanagawa fragment (Gyosho) and e) Fujikawa (Tate-e);

Row 8: a) Mariko (Two Brushes), b) Hara fragment (attributed to Hiroshige) (Pairs), c) Fujisawa fragment (Gyosho), d) Odawara fragment (attributed to Kuniyoshi) (Pairs) and e) Otsu (Two Brushes);

Row 9: a) Hodogawa (Reisho), b) Kanbara (Hoeido), c) Fujikawa (Kyoka) and d) Ejiri (Gyosho).

            The background color for this compilation is Red246-Green233-Blue161, with adjustments (+0.50) for exposure and combined with a pattern of falling snow (sometimes modified) from Fujikawa (Kyoka).


           
Tokaido Stations II: Tokaido Stations II represents a compilation of all 53 of the stations, as well as the two terminals of the Tokaido road, presented in the same linear order as Hiroshige’s 53 Stations of the Tokaido. The origins of the images presented in Tokaido Stations II  are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. The stations are presented linearly by columns, from right to left, top to bottom in the first column, then bottom to top in the second column, top to bottom in the third column and so on, in order to follow the linear flow of the road itself.

Column 1: (Top) a) Nihonbashi (Kyoka), b) Shinagawa (Jimbutsu), c) Kawasaki (Hoeido), d) Kanagawa (Hoeido), e) Hodogaya (Hoeido), f) Totsuka (Gyosho) (Bottom);
Column 2: (Bottom) a) Fujisawa (Gyosho), b) Hiratsuka (Reisho), c) Oiso (Gyosho), d) Odawara (Jimbutsu), e) Hakone (Jimbutsu), f) Mishima (Hoeido) (Top);
Column 3: (Top) a) Numazu (Jimbutsu), b) Hara (Hoeido), c) Yoshiwara (Tsutaya), d) Kanbara (Hoeido), e) Yui (Tsutaya), f) Okitsu (Gyosho) (Bottom);
Column 4: (Bottom) a) Ejiri (Gyosho), b) Fuchu (Reisho), c) Mariko (Hoeido), d) Okabe (Gyosho), e) Fujieda (Tsutaya), f) Shimada (Reisho) (Top);
Column 5: (Top) a) Kanaya (Hoeido), b) Nissaka (Tsutaya), c) Kakegawa (Kyoka), d) Fukuroi (Gyosho), e) Mitsuke (Kyoka), f) Hamamatsu (Gyosho), g) Maisaka (Kyoka) (Bottom);
Column 6: (Bottom) a) Arai (Tate-e), b) Shirasuka (Kyoka), c) Futagawa (Reisho), d) Yoshida (Tsutaya), e) Goyu (Reisho), f) Akasaka (Gyosho) (Top);
Column 7: (Top) a) Fujikawa (Kyoka), b) Okazaki (Tate-e), c) Chiryu (Gyosho), d) Narumi (Reisho), e) Miya (Jimbutsu), f) Kuwana (Hoeido) (Bottom);
Column 8: (Bottom) a) Yokkaichi (Kyoka), b) Ishiyakushi (Tate-e), c) Shono (Gyosho), d) Kameyama (Tate-e), e) Seki (Gyosho), f) Sakanoshita (Gyosho) (Top);
Column 9: (Top) a) Tsuchiyama (Jimbutsu), b) Minakuchi (Jimbutsu), c) Ishibe (Kyoka), d) Kusatsu (Reisho), e) Otsu (Gyosho), f) Kyoto – Sanjo-ohashi (Kyoka) (Bottom).

            Tokaido Stations III: Tokaido Stations III represents a compilation of all 53 stations, as well as the two terminals of the Tokaido road, presented in the same linear order as Hiroshige’s 53 Stations of the Tokaido. The origins of the images presented in Tokaido Stations III are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. The stations are presented linearly by rows, from top to bottom, with the first row going left to right, the second row going right to left, the third row left to right and so on, in order to follow the linear flow of the entire road.

 Row 1: (Left) a) Nihonbashi (Hoeido), b) Shinagawa (Reisho), c) Kawasaki (Reisho), d) Kanagawa (Jimbutsu), e) Hodogaya (Reisho), f) Totsuka (Jimbutsu), g) Fujisawa (Tsutaya), h) Hiratsuki (Gyosho), i) Oiso (Hoeido) (Right);

Row 2: (Right) a) Odawara (Tsutaya), b) Hakone (Gyosho), c) Mishima (Kyoka), d) Numazu (Tate-e), e) Hara (Jimbutsu), f) Yoshiwara (Reisho), g) Kanbara (Jimbutsu), h) Yui (Gyosho), i) Okitsu (Jimbutsu) (Left);

Row 3: (Left) a) Ejiri (Tate-e), b) Fuchu (Jimbutsu), c) Mairiko (Jimbutsu), d) Okabe (Jimbutsu), e) Fujieda (Reisho), f) Shimada (Jimbutsu), g) Kanaya (Jimbutsu), h) Nissaka (Hoeido), i) Kakegawa (Tate-e), j) Fukuroi (Jimbutsu) (Right);

Row 4: (Right) a) Mitsuke (Hoeido), b) Hamamatsu (Tate-e), c) Maisaka (Tsutaya), d) Arai (Hoeido), e) Shirasuka (Tsutaya), f) Futagawa (Kyoka), g) Yoshida (Kyoka), h) Goyu (Gyosho), i) Akasaka (Tsutaya) (Left);

Row 5: (Left) a) Fujikawa (Tate-e), b) Okazaki (Jimbutsu), c)  Chiryu (Tate-e), d) Narumi (Hoeido), e) Miya (Tate-e), f) Kuwana (Tate-e), g) Yokkaichi (Hoeido), h) Ishiyakushi (Jimbutsu), i) Shono (Hoeido) (Right);

Row 6: (Right) a) Kameyama (Hoeido), b) Seki (Reisho), c) Sakanoshita (Reisho), d) Tsuchiyama (Hoeido), e) Minakuchi (Reisho), f) Ishibe (Reisho), g) Kusatsu (Jimbutsu), h) Otsu (Tsutaya), i) Kyoto – Sanjo-ohashi (Jimbutsu) (Left).

            Tokaido Station Portrait – Ishiyakushi: Tokaido Station Portrait - Ishiyakushi represents a compilation of scenes from the Ishiyakushi station of the Tokaido from seven of the various editions of 53 Stations of the Tokaido, as well as two scenes representing the two stations directly adjacent to the Ishiyakushi station.

             The background of this composite is filled entirely with an enlarged print of the Ishiyakushi station appearing in the Hoeido version of Hiroshige’s 53 Stations of the Tokaido.

            The remaining prints of this composite, with the exception of the two prints appearing in the lower left and lower right corners of the composite, represent versions of the Ishiyakushi station which occur in various editions of Hiroshige’s work. They are, from top to bottom and from left to right on each row, as follows:

Top Row: a) Harimaze Zuye, b) Gyosho and c) Two Brushes;

Middle Row: a) Pairs (attributed to Kuniyoshi);

Bottom Row (the two middle prints, left to right): a) Tate-e and b) Jimbutsu.

            The two prints in the bottom corners of the composite represent glimpses of the two stations adjoining Ishiyakushi itself, in an attempt to contextualize it for the viewer, traveling in either direction on the Tokaido.

            In this case, the print in the lower left of the composite represents the Hoeido version of the Yokkaichi station, while the print in the lower right represents the Hoeido version of the Shono station.

        Tokaido Travelers and Toilers III – Fukuroi to  Miya: Tokaido Travelers and Toilers III – Fukuroi to Miya  represents a compilation of the people (both those who traveled the road and those who worked along it)  illustrated in Fukuroi and the next 14 stations of the Tokaido from all of the various sets of the 53 Stations of the Tokaido known to and used by me at the time. To one degree or another, all of the images in this particular composite may be considered somewhat fragmentary in nature because of my partial erasures intended to focus primarily on the people themselves.

            For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. From top to bottom and from left to right, the prints are as follows:

Row 1: a) Mitsuke (Kyoka), b) Okasaki (Tate-e), c) Akasaka (Tate-e), d) Fujikawa (Kyoka), e) Akasaka (Tsutaya), f) Hamamatsu (attributed to Kuniyoshi) (Pairs) and g) Yoshida (attributed to Toyokuni) (Pairs);

Row 2: a) Maisaka (Fujikei), b) Miya (Fujikei), c) Futagawa (flipped) (Hoeido), d) Akasaka (Gyosho), e) Maisaka (Two Brushes), f) Narumi (Hoeido) and (inboard of right margin) g) Okazaki (Gyosho);

Row 3: a) Okazaki (attributed to Hiroshige) (Pairs), b) Hamamatsu (Jimbutsu), c) Narumi (attributed to Toyokuni) (Pairs), d) Okazaki (Reisho), e) Narumi (Hoeido) and f) Goyu (Hoeido);

Row 4: (begins inboard of left margin and ends inboard of right margin) a) Maisaka (Jimbutsu), b) Akasaka (Kyoka), c) Mitsuke (Jimbutsu), d) Arai (attributed to Toyokuni) (Pairs) and e) Narumi (Reisho);

Row 5: a) Mitsuke (attributed to Kuniyoshi) (Pairs), b) Hamamatsu (Gyosho), c) Hamamatsu (Hoeido), d) Okazaki (Jimbutsu), e) Goyu (Reisho), f) Fukuroi (Jimbutsu), g) Shirasuka (Fujikei), h) Shirasuka (Gyosho), i) Mitsuke (Hoeido), j) Shirasuka (attributed to Hiroshige) (Pairs) and k) Chiryu (Gyosho).

            The background color is a solid fill of Red156 – Green28 – Blue32, somewhat close to the Japanese color Enji-iro (Cochineal Red).  This color is also used in the other three composites treating travelers and toilers along the Tokaido, in order to link the four composites as a mini-series within the larger Tokaido Revisited series.


            Tokaido Travelers and Toilers IV – Miya to Kyoto: Tokaido Travelers and Toilers IV – Miya to Kyoto represents a compilation of the people (both those who traveled the road and those who worked along it) illustrated for Miya and the last 12 stations, as well as the terminus, Kyoto, of the Tokaido from all of the various sets of the 53 Stations of the Tokaido known to and used by me at the time. To one degree or another, all of the images in this particular composite may be considered somewhat fragmentary in nature because of my partial erasures intended to focus primarily on the people themselves.

            For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. From top to bottom and from left to right, the prints are as follows:

Row 1: a) Kyoto – Sanjo-ohashi (Jimbutsu), b) Kyoto (attributed to Hiroshige) (Pairs), c) Ishiyakushi (Gyosho), d) Shono (Two Brushes), e) Kyoto (Reisho), f) Kameyama (Jimbutsu) and g) Kusatsu (Jimbutsu);

Row 2: a) Ishiyakushi (attributed to Kuniyoshi) (Pairs), b) Miya (Jimbutsu), c) Tsuchiyama (Jimbutsu), d) Yokkaichi (Jimbutsu), e) Yokkaichi (flipped) (Two Brushes), f) Minakuchi (Reisho), g) Ishibe (attributed to Kuniyoshi) (Pairs) and h) Sakanoshita (Jimbutsu);

Row 3: a) Tsuchiyama (Gyosho), b) Yokkaichi (attributed to ?Kunisada) (Pairs), c) Yokkaichi (Hoeido), d) Ishibe (Jimbutsu), e) Kuwana (Fujikei) and f) Otsu (Jimbutsu);

Row 4: (begins inboard of left margin and ends inboard of right margin) a) Kyoto (Two Brushes), b) Sakanoshita (Reisho), c) Kuwana (Jimbutsu), d) Ishibe (flipped) (Two Brushes) and e) Minakuchi (flipped) (attributed to Kuniyoshi) (Pairs);

Row 5: a) Minakuchi (Jimbutsu), b) Seki (Gyosho), c) Shono (Reisho), d) Ishibe (Reisho), e) Minakuchi (Gyosho) and f) Ishiyakushi (Jimbutsu).

            The background color is a solid fill of Red156 – Green28 – Blue32, somewhat close to the Japanese color Enji-iro (Cochineal Red).  This color is also used in the other three composites treating travelers and toilers along the Tokaido, in order to link the four composites as a mini-series within the larger Tokaido Revisited series.

            Tokaido Trees: Tokaido Trees represents a compilation of many of the trees depicted from among many of the various editions of 53 Stations of the Tokaido now available to me.

            For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. From top to bottom and from left to right, the prints are as follows:

Row 1: a) Kameyama (Kyoka), b) Hamamatsu (Gyosho), c) Akasaka (Tsutaya), d) Goyu (Reisho), and e) Shirasuka (Jimbutsu);

Row 2: a) Totsuka (Reisho), b) Okitsu fragment (Jimbutsu), c) Kanbara fragment (Kyoka), d) Kusatsu (Gyosho), e) Totsuka fragment (Harimaze), f) Yoshiwara (Fujikei), g) (beneath “f”) Yokkaichi fragment (Hoeido), h) (above “i”) Hodogaya fragment (Harimaze), and i) (below “h”) Shirasuka fragment (Gyosho);

Row 3: a) Kakegawa (Reisho), b) Totsuka (Jimbutsu), c) Ishiyakushi (Tate-e), d) Chiryu (Tate-e), e) Akasaka fragment (Pairs), f) Fukuroi (Jimbutsu), and g) Yoshiwara (Reisho):

Row 4: a) Hara (Jimbutsu), b) Numazu fragment (Gyosho), c) Kanbara (Gyosho), d) Tsuchiyama (Jimbutsu), e) Yoshiwara (Two Brushes), f) Okitsu fragment (Gyosho), g) Oiso fragment (Reisho), and h) Chiryu fragment (Gyosho).

            Tokaido Twilight: Tokaido Twilight represents a compilation of many early morning or late afternoon scenes depicted from among many of the various editions of 53 Stations of the Tokaido now available to me.

            For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. By columns, from left to right, and with each column from top to bottom, the prints are as follows:

Column 1: a)  Kanbara (Hoeido), b) Mishima (Hoeido), c) Fuchu (Kyoka), d) Futagama (Hoeido), e) Fuchu (Jimbutsu), and f) Totsuka (Hoeido);

Column 2: a) Fukuroi fragment (Hoeido), b) Hakone (Reisho), c) Fuchu (Reisho), d) Yoshida (Fujikei), and e) Hamamatsu (Hoeido);

Column 3: a) Fuchu (Tate-e), b) Shono (Two Brushes), c) Akasaka (Tsutaya), d) Fujisawa (Reisho), and e) Akasaka (Two Brushes);

Column 4: a) Okabe (Two Brushes), b) Mariko (Reisho), c) Seki (Hoeido), d) Chiryu fragment (Gyosho), e) Fukuroi (Tsutaya), and f) Numazu (Hoeido);

Column 5: a) Kanagawa (Tate-e), b) Akasaka (Hoeido), c) Akasaka (Gyosho), d) Narumi (Two Brushes), and e) Hamamatsu (Tsutaya);

Column 6: a) Okabe (Reisho), b) Kameyama (Fujikei), c) Narumi (Hoeido), d) Hamamatsu (Reisho), and e) Goyu (Hoeido);

Column 7: a) Seki (Reisho), b) Hodogaya (Jimbutsu), c) Akasaka (Kyoka), d) Mariko (Hoeido), and e) Chiryu fragment (Gyosho).

            The background pattern of stars is from Mariko (Reisho) and has been modified in various sections in order to encourage a sense of twilight, with fewer stars visible nearer the horizon at either sunrise or sunset. A color fill of Red28-Green9-Blue63 has been used with a gradient, again to simulate a general sense of twilight in the overall sky.

            Tokaido Winds: Tokaido Winds represents a compilation of windy scenes, or elements of scenes depicting the wind from among many of the various editions of 53 Stations of the Tokaido now available to me.

            For the record, the origin of the images presented are listed here, with the name of the particular Tokaido station given first, followed in parentheses by the name of the edition from which the print originates. By rows, from top to bottom and from left to right, the prints are as follows:

 Top Row: a) Yui (Hoeido), b) Ejiri fragment (Two Brushes), c) Miya fragment (Fujikei), d) Fukuroi (Tate-e), and e) Kakegawa (Hoeido);

Middle Row: a) Nurumi fragment (Tate-e), b) Fukuroi (Reisho), c) Fukuroi (Jimbutsu), d) Fukuroi (Gyosho), e) Ejiri fragment (Pairs), and f) Narumi fragment (Jimbutsu);

Bottom Row: a)Yokkaichi (Hoeido), b) Fujisawa fragment (Kyoka), c) Shirasuka fragment (Fujikei), and d) Hakone (Gyosho).

            The background color of Red125-Green158-Blue165 provides a light blue sky appropriate to the gentler breezes of Hiroshige’s Tokaido.


 



 

Stations II  l  Fords

Snow II  l  Trees

Kimonos  l  Mists

 Twilight l WindsSails II  l Stations III

Ishiyakushi l Travelers III I Travelers IV l Epilogue