|
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.
|
|