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Tokaido
Bridges: Tokaido Bridges
represents a compilation of many of the bridges depicted at the
stations, as well as the two terminals of the Tokaido road, 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) Yoshida (Tsutaya), b) Hodogaya (Fujikei), c)
Kyoto (Hoeido), d) Nihonbashi (Fujikei) and e) Tsuchiyama (Tsutaya);
Row 2: a) Fujisawa (Kyoka), b) Kyoto: Sanjo-ohashi (Jimbutsu),
c) Kyoto (Reisho), d) Ishibe (Two Brushes) and e) Yokkaichi (Kyoka);
Row 3: a) Hodogaya (Reisho), b) Numazu (Tate-e), c)
Kawasaki (Tate-e) and d) Okazaki (Hoeido);
Row 4: a) Ejiri (Tsutaya) and b) Kakegawa (Hoeido);
Row 5 (sensu lato): a) Yoshida (Tate-e), b)
Kakegawa (Two Brushes), c) (above “d”) Yokkaichi (Hoeido), d)
(below “c”) Okazaki (Gyosho), e) Kanbara (Two Brushes) and f)
Okazaki (Tate-e);
Row 6: a) Kakegawa (Kyoka), b) Hiratsuka (Jimbutsu), c)
Okazaki (Reisho), d) Kanaya (Jimbutsu) and e) Okazaki (Kyoka);
Row 7: a) Hodogaya (Gyosho), b) Nihonbashi (Hoeido), c)
Nihonbashi (Two Brushes) and d) Hodogaya (Hoeido).
The background color (Red88-Green135-Blue158), not
surprisingly, is intended to represent water.
The margin and many of the reddish beams in the lower
and middle part of the composition are fragments of bridgework
borrowed from Nihonbashi (Two Brushes).
The bridgework supporting the images of 1b and 1d are
fragments from Okazaki (Tsutaya). The bridgework supporting all five
of the images in row 2, those images in row 3a and b, row 4b and row
5d are fragments from Okazaki (Hoeido).
The bridge spanning 2d and 3b is from Okazaki (Tsutaya).
The bridge spanning 4a and 3c is from Okazaki (Kyoka). The
footbridge and three men on it which spans 5a and 5c are from
Shimada (Gyosho). The bridge spanning 5d and 6e is from Yoshida (Kyoka).
Tokaido Ferries: Tokaido Ferries
represents a compilation of many of the ferry boats traversing the
deeper water sections of the Tokaido road, 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. The prints employed are as follows:
Top Row, left to right: a) Hiratsuka (Kyoka), b)
Kusatsu (Reisho), c) Arai (Hoeido) and d) Kanbara (Tsutaya).
Bottom Row, left to right: a) Kawasaki (Kyoka), b)
Mitsuke (Reisho), c) Mitsuke (Kyoka) and d) Otsu (Tsutaya).
Left Column, top to bottom: a) Hiratsuka (Kyoka), b)
Kuwana (Tate-e), c) Kanbara (Reisho), d) Kuwana (Reisho), e)
Kawasaki (Hoeido), f) Arai (Gyosho), g) Kawasaki (Fujikei) and h)
Kawasaki (Kyoka).
Right Column, top to bottom: a) Kanbara (Tsutaya), b)
Kuwana (Fujikei), c) Mitsuke (Jimbutsu), d) Maisaka (Reisho), e)
Kawasaki (Jimbutsu), f) Maisaka (Jimbutsu) and g) Otsu (Tsutaya).
The upper “island” (enclosing an unoccupied
“lake”), starting from the top, center print and going
clockwise: a) Arai (Tate-e), b) Kusatsu (Tate-e), c) Kawasaki (Gyosho),
d) Kanbara (Jimbutsu), e) Kawasaki (Reisho) and f) Hiratsuka
(Tate-e).
The lower “island” (comma-shaped), starting from
the top down, right to left, right to left: a) Mitsuke (Two
Brushes), b) Arai (Jimbutsu), c) Mitsuke (Gyosho), d) Arai (Tsutaya)
and e) Mitsuke (Hoeido).
The background color (Red51-Green102-Blue153), not
surprisingly, is intended to represent water.
Tokaido
Flowers: Tokaido Flowers
represents a compilation of those images of flowers, be they
arborescent or herbaceous, represented in all of the sets of
Hiroshige’s Tokaido known to me at the time. For the record, the
origin of the images presented here are listed 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) Otsu (Tate-e), b) Mishima fragment (Hoeido),
c) Okabe (Fujikei), d) Fujieda (Pairs), e) Hodogaya (Harimaze), f)
Okabe (Two Brushes), g) Mishima (Kichizo Tsutaya), and h)
Ishiyakushi (Two Brushes);
Row 2: a) Ishiyakushi (Tate-e), b) Maisaka (Fujikei),
c) Fuchu (Fujikei), d) Ishiyakushi (fan) (Harimaze), e) Minakuchi
(Tate-e), f) Kawasaki (Harimaze),
g) Hamamatsu fragment (Hoeido), h) Ishiyakushi (Jimbutsu), and
Narumi (Harimaze);
Row 3: a) Narumi fragment (Gyosho), b) Ishiyakushi
(Pairs), c) Kusatsu (Gyosho), d) Hamamatsu (Pairs), e) Yokkaichi (Kyoka),
and f) Okazaki fragment (Gyosho);
Row 4: a) Okazaki fragment (Pairs), b) Namazu fragment
((Hoeido), c) Ishibe (Kyoka), d) Miya fragment (Tate-e), e) Mariko (Gyosho),
f) Kanagawa fragment (Gyosho), g) Mariko (Fujikei), and h) Shinagawa
(Tate-e).
The background for this composite is composed of floral
fragments of kimonos represented in four different woodblock prints,
as follows: 1) the fine blue and white pattern throughout the
background is from the Minakuchi station of the Pairs series; 2) the
coarse red pattern on the left side of the background is from the
Yokkaichi station of the Two Brushes series; 3) the coarse red
pattern on the right side of the background is from the Miya station
of the Two Brushes series; and 4) the coarse yellow pattern at the
bottom of the background is from the Miya station of the Fujikei
series.
Tokaido Horses: Tokaido Horses
represents a compilation of those images of horses represented in
all of the sets of Hiroshige’s Tokaido woodblock prints known to
me at the time. For the record, the origin of the images presented
here are listed 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) Fuchu (Jimbutsu), b) Ishiyakushi (Gyosho), c)
Totsuka fragment (Reisho), d) Ishibe (Gyosho), e) Kanaya (Tate-e),
f) Fujikawa (Kyoka), and g) Seki (Jimbutsu);
Row 2: a) (scroll inboard of the left margin) Namazu (Harimaze),
b) Fujieda fragment (Hoeido), c) Narumi fragment (Hoeido), d) Goyu
fragment (Kichizo Tsutaya), e) Fujieda fragment (Reisho), f) Fukuroi
fragment (Kyoka), g) Hamamatsu fragment (Two Brushes), and h) Shono
(Harimaze);
Row 3: a) Shono fragment (Kichizo Tsutaya), b) Fuchu
fragment (Reisho), c) Miya fragment (Hoeido), d) (jumping across the
central panel) Okazaki fragment (Reisho), and e) Okazaki fragment (Gyosho);
Row 4: a) (pack horse and wrangler inboard of laft
margin) Kusatsu fragment (Kyoka), b) Akasaka fragment (Kyoka), c)
(the central panel) Chiryu (Hoeido), d) Yoshida fragment (Reisho),
and e) Yokkaichi fragment (Gyosho);
Row 5: Fujieda fragment (Two Brushes), b) Okazaki
fragment (Tate-e), c) Hiratsuka fragment (Gyosho), d) Fukuroi
fragment (Kichizo Tsutaya), e) Okitsu fragment (Kichizo Tsutaya), f)
Okitsu fragment (Gyosho), g) Akasaka fragment (Gyosho), h) Mariko
fragment (Kyoka), and i) Shono fragment (Pairs);
Row 6: a) Yoshiwara (Reisho), b) Ishiyakushi fragment (Kyoka),
c) Chiryu fragment (Kichizo Tsutaya), d) (in space above 6c) Mitsuke
fragment (Kyoka), e) (in space above 6f) Fujieda fragment (Hoeido),
f) Shono fragment (Gyosho), and g) Totsuka (Gyosho).
The background color for this composite is green
(Red41-Green96-Blue16) for pasturage, suitable for nourishing all of those
fragments without any pasturage of their own.
Tokaido
Mountains: Tokaido Mountains
represents a compilation of mountain scenes 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 edition from which the print
originates. From top to bottom and left to right, the prints are as
follows:
Row 1: a) Yui (Hoeido), b) Okabe (Two Brushes), c)
Nissaka (Reisho), d) Otsu (Two Brushes), and e) Hakone (Hoeido);
Row 2: a) Kanagawa (Harimaze), b) Tsuchiyama (Gyosho),
c) Nissaka (Tate-e), d) Hakone (Kyoka), and e) Hakone (Jimbutsu);
Row 3: a) Sakanoshita (Kyoka), b) Kanagawa (Hoeido)
fragment (three backpackers), c) Tsuchiyama (Jimbutsu), d) Futagawa
(Hoeido) fragment (three hiking musicians), and e) Sakanoshita (Hoeido);
Row 4: a) Okabe (Reisho), b) Hakone (Tate-e), c) Kanaya
(Tate-e) fragment (three men and a horse), d) Okabe (Tate-e), e)
Totsuka (Harimaze), and f) Sakanoshita (Jimbutsu);
Row 5: a) Yui (Tate-e), b) Okabe (Hoeido), c)
Sakanoshita (Tate-e), d) Totsuka (Jimbutsu), and e) Okabe (Gyosho);
Row 6: (begins inboard of left margin) a) Fujikawa (Gyosho)
fragment (two men going in opposite directions), b) Seki (Two
Brushes), and c) Hodogaya (Hoeido) fragment (four porters and a
palanquin);
Row 7: a) Hakone (Tsutaya), b) Totsuka (Reisho), c)
Hakone (Reisho), d) Yoshiwara (Jimbutsu), e) (below d) Mishima (Gyosho)
fragment (two men with umbrellas), and f) Nissaka (Hoeido);
Row 8: a) Nissaka (Jimbutsu), b) Minakuchi (Gyosho)
fragment (five figures), c) Hara (Jimbutsu), d) Minakuchi (Reisho),
e) Totsuka (Two Brushes), and f) Kameyama (Gyosho);
Row 9: (begins inboard of left margin) a) Totsuka (Gyosho),
b) Nissaka (Kyoka) fragment (one porter), c) Nissaka (Kyoka)
fragment (porters bearing five palanquins), and d) Hara (Hoeido);
Row 10: a) Kanbara (Harimaze), b) Hara (Reisho), c)
Yoshiwara (Fujikei), d) Yoshiwara (Tate-e), e) Sakanoshita (Reisho),
and f) Yoshiwara (Two Brushes).
The background is a major portion of the Yoshiwara (Tate-e) print,
greatly enlarged and screened to 75% opacity.
Tokaido Rain: Tokaido Rain
represents a compilation of rainy scenes represented in various 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 print
originates. From top to bottom and left to right, the prints are as
follows:
Row 1: a) Tsuchiyama (Tsutaya), b) Totsuka (Hoeido)
fragment, c) Tsuchiyama (Kyoka), d) Mitsuke (Kyoka) fragment, and e)
Shono (Hoeido);
Row 2: a) Kameyama (Jimbutsu), b) Kameyama (Tate-e), c)
Hara (Tsutaya) fragment, d) Tsuchiyama (Two Brushes), e) (above f)
Hamamatsu (Hoeido) fragment, f) (below e) Tsuchiyama (Gyosho)
fragment, and g) Ejiri (Jimbutsu);
Row 3: a) Shinagawa (Gyosho) fragment, b) Totsuka
(Tate-e) fragment, c) Mariko (Tate-e) fragment, d) Kusatsu (Two
Brushes), e) Futagawa (Kyoka), f) Narumi (Gyosho) fragment, and g)
Kanbara (Tate-e) fragment;
Row 4: a) Ejiri (Tsutaya), b) Fujieda (Reisho), c)
Tsuchiyama (Hoeido), and d) Oiso (Hoeido).
The background is a solid fill of
Red198-Green193-Blue163 to provide a neutral field for all the woodblock
images presented. It is sprinkled with rain fragments extracted from
Futagawa (Kyoka) and altered here and there in an attempt to
complement the mood of adjacent woodblock prints or print fragments.
Tokaido Sails I: Tokaido Sails I
represents a compilation of all the seascapes with boats under sail
represented in the five sets of Hiroshige’s Tokaido on display at the Muscarelle
Museum.
For the record, the origin of the prints (or fragments
of prints) presented here are listed 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) Yoshiwara (Tate-e) fragment
(birds, extending down to row 3), c) Maisaka (Kyoka), d) Kakegawa (Hoeido)
fragment (solitary kite), e) Ejiri (Tate-e), f) Arai (Tate-e)
fragment (sailboats), and g) Kanagawa (Hoeido);
Row 2: a) Yui (Tate-e) fragment (on left margin), b)
Kusatsu (Tate-e), c) Yoshida (Tate-e) fragment (pair of sailboats),
d) Maisaka (Tate-e) (solitary sailboat), and e) Maisaka (Hoeido);
Row 3: a) (inboard of left margin) Arai (Gyosho), b)
Arai (Tsutaya), c) Kanbara (Tsutaya) fragment (solitary sculled
boat), and d) Shirasuga (Gyosho) (large fragment on right margin);
Row 4: a) Kuwana (Tate-e), b) Ejiri (Hoeido), c)
Okazaki (Tate-e) fragment (solitary sculled boat), d) Kuwana (Hoeido)
fragment (pair of sailboats), and e) Shinogawa (Hoeido);
Row 5 (bottom margin): a) Hamamatsu (Tate-e) fragment
(waves), b) Okazaki (Tate-e) fragment (horse and groom), c) Shimada
(Gyosho) fragment (shore scene with three figures), and d) Fujisawa
(Kyoka) fragment (stone lantern).
The background of the entire composition is a solid
fill color of Red71-Green115-Blue157, sprinkled with wave fragments from Yui
(Reisho).
Tokaido Snow I: Tokaido Snow represents a compilation
of all the snowy landscapes represented in the five sets of
Hiroshige's Tokaido prints on display at the Muscarelle Museum. For
the record, the origin of the ten images are listed here, with the
name of the particular Tokaido station given first, followed in
parentheses with the name of the series, or set, from which the
print originates. From top to bottom and left to right, the prints
are as follows: Top row: Kanbara (Hoeido), Fujikawa (Upright),
Mariko (Tsutaya), and Kameyama (Hoeido); Middle row: Ishiyakushi (Gyosho),
Okabe (Upright) and Fujikawa (Kyoka); Bottom row: Numazu (Upright),
Mishima (Kyoka), and Ejiri (Gyosho).
The
various fragments which also appear in this composite are not from
snowy Hiroshige prints but they wanted to be represented
nevertheless. Again for the record, they are from their original
Hiroshige prints as follows: Top tier: Mishima (Hoeido); Second
tier: Kakegawa (Hoeido) and Ishibe (Hoeido); Third tier: Hara (Hoeido)
(red-crested cranes) and Kameyama (Upright); Fourth tier: Mishima (Hoeido)
(stone lantern); and Fifth tier: Okitsu (Gyosho).
I
fancy this last fragment a depiction of a vigorous young man (Hiroshige
himself) and a packhorse straddled by an old man (myself), leading
him (me) through his wondrous creations spread before them (us).
Call it artistic license.
Tokaido
Stations: Tokaido
Stations represents a compilation of all 53 of the
stations, as well as the two terminals, of the Tokaido road,
presented in the same order as Hiroshige’s 53 Stations of the Tokaido. Here, however, elements of seven
different editions of 53
Stations of the Tokaido have been used to make this
compilation, namely: Gyosho, Hoeido, Jimbutsu, Kyoka, Reisho,
Tate-e, and Tsutaya. I have attempted to choose among these various
editions in order to best represent the various stations in as
informative a way as permitted by the confines of my i2 inch by 18
inch canvas. 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 right to left, the prints are as follows:
Row A: 1) Nihonbashi (Gyosho), 2) Shinagawa (Hoeido),
3) Kawasaki (Gyosho), 4) Kanagawa (Tsutaya), 5) Hodogaya (Gyosho),
6) Totsuka (Hoeido), 7) Fujisawa (Hoeido), 8) Hiratsuka (Tsutaya),
and 9) Oiso (Reisho);
Row B: 10) Odawara (Hoeido), 11) Hakone (Hoeido), 12)
Mishima (Tsutaya), 13 Numazu (Hoeido), 14) Hara (Reisho), 15)
Yoshiwara (Gyosho), 16) Kanbara (Kyoka), 17) Yui (Reisho), and 18)
Okitsu (Tsutaya);
Row C: 19) Ejiri (Tsutaya), 20) Fuchu (Gyosho), 21)
Mariko (Gyosho), 22) Okabe (Hoeido), 23) Fujieda (Jimbutsu), 24)
Shimada (Gyosho), 25) Kanaya (Tate-e), 26) Nissaka (Jimbutsu), 27)
Kakegawa (Reisho), and 28) Fukuroi;
Row D: 29) Mitsuke (Jimbutsu), 30) Hamamatsu (Hoeido),
31) Maisaka (Hoeido), 32) Arai (Kyoka), 33) Shirasuka (Gyosho), 34)
Futagawa (Tsutaya), 35) Yoshida (Gyosho), 36) Goyo (Kyoka), and 37)
Akasaka (Kyoka);
Row E: 38) Fujikawa (Gyosho), 39) Okazaki (Reisho), 40)
Chiryu (Kyoka), 41) Narumi (Jimbutsu), 42) Miya (Kyoka), 43) Kuwana
(Tsutaya), 44) Yokkaichi (Tsutaya), 45) Ishiyakushi (Gyosho), and
46) Shono (Reisho);
Row F: 47) Kameyama (Kyoka), 48) Seki (Tate-e), 49)
Sakanoshita (Hoeido), 50) Tsuchiyama (Tsutaya), 51) Minakuchi (Gyosho),
52) Ishibe (Gyosho), 53) Kusatsu (Gyosho), 54) Otsu (Jimbutsu), and
55) Kyoto (Gyosho).
Tokaido Travelers and Toilers I: Tokaido
Travelers and Toilers I - Edo to Hara represents a compilation
of the people represented in Edo and the first 13 stations of the
Tokaido (both those who traveled the road and those who worked along
it) in 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 the 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 left to right, the
prints are as follows:
Row 1: a) Mishima (Hoeido), b) Hakone (Pairs), c)
(above d) Numazu (Tate-e), d) (below c) Shinagawa (Two Brushes), e)
Hara (Two Brushes), f) Hiratsuka (Jimbutsu), g) Nihonbashi
(attributed to Kuniyoshi) (Pairs), and h) Numazu (Jimbutsu);
Row 2: a) Odawara (Jimbutsu), b) Oiso (Jimbutsu),
and c) Hakone (Reisho);
Row 3: a) Kawagawa (Jimbutsu), b) Fujisawa (Two
Brushes), c) Numazu (attributed to Kuniyoshi) (Pairs), d) Totsuka (Jimbutsu),
e) Fujisawa (Jimbutsu), f) Nihonbashi (Jimbutsu), g) Oiso
(attributed to Kuniyoshi) (Pairs), and h) Hakone (Jimbutsu);
Row 4: (begins inboard of left margin) a) Shinagawa
(Reisho), b) Hiratsuka (Two Brushes) (extends downward, into Row 5),
c) Odawara (attributed to Kuniyoshi) (Pairs), d) Shinagawa (Harimaze),
e) Totsuka (Two Brushes), f) Kawasaki (Jimbutsu), and g) Hodogaya (Jimbutsu);
Row 5: a) Hara (Jimbutsu), b) (above c) Numazu
(flipped horizontally) (Tate-e), c) (below b) Hiratsuka (Gyosho), d)
Kanagawa (attributed to Toyokuni) (Pairs), e) Kawasaki (Two
Brushes), f) Totsuka (Pairs), g) Nihonbashi (Two Brushes), and h)
Oiso (Reisho).
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 II: Tokaido
Travelers and Toilers II – Hara to Fukuroi represents a compilation
of the people represented in Hara and the next 14 stations of the
Tokaido (both those who traveled the road and those who worked along
it) in 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 the 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 left to right, the
prints are as follows:
Row 1: a) Okitsu (Fujikei), b) Yoshiwara (Reisho),
c) Kanbara (Hoeido), d) Yoshiwara (Jimbutsu), e) Kanbara (Gyosho),
f) Hara (Hoeido), and g) Kanbara (attributed to Kuniyoshi) (Pairs);
Row 2: (begins inboard of left margin) a) Yui
(attributed to Kuniyoshi) (Pairs), b) Kakegawa (Two Brushes), c)
Okabe (Gyosho), and d) (ends inboard of right margin) Fujieda
(attributed to Kuniyoshi) (Pairs);
Row 3: a) Fuchu (Jimbutsu), b) Okitsu (Jimbutsu),
c) Fuchu (Two Brushes), d) Okabe (Jimbutsu), e) Kakegawa (Hoeido),
f) Fujieda (Jimbutsu), and g) Hara (Pairs);
Row 4: (begins inboard of left margin) a) Ejiri (Jimbutsu),
b) Maruko (flipped horizontally) (Pairs), c) Kakegawa (Jimbutsu), d)
Fuchu (Pairs), e) Kanaya (Jimbutsu), f) Mariko (Fujikei), g) Fukuroi
(Two Brushes), h) (above i) Fukuroi (Fujikei), i) (below h) Mariko
(Tate-e), and j) Yui (Reisho);
Row 5: a) Fukuroi (Hoeido), b) Kanaya (Pairs), c)
Kanaya (Tate-e), d) Shimada (attributed to Toyokuni) (Pairs), e)
Kanbara (Reisho), and f) Okitsu (Gyosho);
Row 6: a) Nissaka (Jimbutsu), b) Fukuroi (Tsutaya),
c) Yoshiwara (Two Brushes), d) Fukuroi (Gyosho), and e) Kanbara (Jimbutsu).
The background color is a solid fill of Red156–Green28–Blue32, somewhat
close to the Japanese color Enji-iro (Cochineal Red)
and is intended to be reminiscent of that used in association with
highly polished lacquer ware. 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.
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