DOCSLIB.ORG

118 This Book Is an Accessible Overview of the Artistic Practices Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

118 Machotka Yoshitoshi. Masterpieces from the Ed Freis Collection. Leiden, Hotei Publishing, 2011. €49.00. This book is an accessible overview of the artistic practices of the Japanese printmaker Tsukioka Yoshitoshi (1839-1892). It also makes an important con- tribution to the study of the late nineteenth-century publishing industry in Japan, a subject still relatively little explored in academia. The book was issued as a catalogue of woodblock prints from the Freis Collection shown at an exhi- bition organized in 2011 at the Siebold House in Leiden, The Netherlands.1 Besides ample visual material befitting a book issued by Hotei Publishing, it features selected essays presented at the Yoshitoshi Symposium organized the same year by Chris Uhlenbeck and Hotei Japanese Prints. Two longer essays, by Chris Uhlenbeck and Amy Reigle Newland, are followed by a cata- logue with entries by Maureen de Vries, Ed Freis, Chris Uhlenbeck and Amy Reigle Newland. The book is supplemented by two appendices, ‘Yoshitoshi’s illustrated books’ by Sytse Boonstra and ‘Yoshitoshi’s serial graphics’ by Robert Schaap, and also includes a bibliography, glossary and index. Traditionally labeled as ‘the last ukiyo-e master’, Yoshitoshi is also considered one of the most controversial figures of the Meiji era (1868-1912). Ultimately, the source of this controversy, and, to a certain extent, also of Yoshitoshi’s popular- ity, is his alleged mental illness. Psychological disorder has hitherto functioned as the central motif to interpret the designer’s restless life-style and diverse artistic output. However, interpretations grounded solely in Yoshitoshi’s per- sonal history call for re-contextualization in relation to the socio-economic events of the Meiji era. This publication, which offers an alternative reading of Yoshitoshi’s activities as a function of the Meiji publishing industry, breaks new ground in our understanding of his works and artistic practices of the time. The book’s aim is three-fold: 1) to present the Freis Collection; 2) to offer a new interpretation of Yoshitoshi’s oeuvre; 3) to shed light on the Meiji pub- lishing industry and the position of a designer vis-à-vis publishers and public. The book can be divided into two main parts: the two discursive essays and the catalogue with appendices. First, in his essay ‘The phases in the career of Tsukioka Yoshitoshi: a print designer in a time of change’, Chris Uhlenbeck presents Yoshitoshi’s artistic biography. The author begins with a short presen- tation of the state of the field. On the one hand, appreciation of Yoshitoshi still lags behind that of ‘the canonical masters of ukiyo-e’ such as Utamaro, Hokusai, and Hiroshige, but, on the other hand, he tops the list of Meiji print designers. The reader is therefore eager to find out the reasons for the status 1 Later the show was displayed in the Pacific Asia Museum in Pasadena, California. © koninklijke brill nv, leiden, ���4 | doi 10.1163/22106286-12341258 book reviews 119 quo. To explain the situation Uhlenbeck brings into focus Western scholarship, namely Roger Keyes and John Stevenson.2 Unfortunately, the recent ‘Yoshitoshi boom’ in Japanese academia noted by Asano Shūgō (Ukiyo geijutsu 161 [2011], p. 77), which includes publications by Iwakiri Yuriko, Sugawara Mayumi and Hinohara Kenji, is not discussed.3 Doubtless, Western collectors, most likely the targeted audience for this book, would welcome the opportunity to famil- iarize themselves with Japanese scholarship, to which in general they have rather limited access. Subsequently, Uhlenbeck offers a periodization of Yoshitoshi’s oeuvre. Importantly, the author states that he is not going to venture into an explora- tion of the artist’s personality, ‘nor to interpret his art based on unsubstanti- ated assumptions’ (p. 8), namely anecdotes about his violent character, mental illness, sexuality, and attitude towards women based on unreliable publica- tions by Yoshitoshi’s pupil Yamanaka Kodō (1869-1945). Instead, Uhlenbeck outlines his methodological approach in relation to the realities of the pub- lishing industry powered by the market, in which a designer is seen as a pro- ducer of commodities. He states: ‘This analysis springs from the premise that the ukiyo-e designer was an indispensable link within a mechanism of pro- duction that was initiated by the publisher, who in turn was driven by market forces’ (p. 9). Since the 1970s analysis of the socio-economic context has been a commonplace in visual culture studies. Nonetheless, the idealistic notion of ‘genius’ has had a surprisingly long life in scholarship on pre-modern Japanese culture. Aptly, Uhlenbeck does not subscribe to this view. He applies a socio- economic perspective to Yoshitoshi’s prints in the same way as he has done in his earlier scholarship exploring Edo-period ukiyo-e. However, this approach raises the question of whether there is a corre- spondence between Edo and Meiji realities. To what extent is it justifiable to interpret Meiji publishing as an invariable continuation of the Edo-period industry? Obviously, the Meiji Restoration did not happen overnight and old 2 Keyes, Courage and Silence: A Study of the Life and Color Woodblock Prints of Tsukioka Yoshitoshi: 1939-1892 (Cincinnati: Union for Experimenting Colleges and Universities, 1982); Stevenson, Yoshitoshi’s Thirty-Six Ghosts (Hong Kong: Blue Tiger, 1983); Yoshitoshi’s One Hundred Aspects of the Moon (Leiden: Hotei Publishing, 2005); Eric Van den Ing and Robert Schaap, Beauty and Violence. Japanese Prints by Yoshitoshi 1939-1892 (Bergeyk: Society for Japense Arts, 1992), etc. 3 Iwakiri Yuriko, Yoshitoshi tsuki hyakushi (Tōkyōdō Shuppan, 2010); Sugawara Mayumi, Tsukioka Yoshitoshi, Wakan hyakumonogatari (Nazotoki ukiyoe sosho) (Nigensha, 2011); Hinohara Kenji, Tsukioka Yoshitoshi: Fūzoku sanjū nisō (Nazotoki ukiyoe sosho) (Nigensha, 2011). Also worth noting is the most recent publication issued after the Hotei book: Iwakiri Yuriko, Tsukioka Yoshitoshi: Bakumatsu Meiji wo ikita kisai ukiyoeshi (Bessatsu Taiyō) (Heibonsha, 2012). East Asian Publishing and Society 4 (2014) 115-124.
Recommended publications
  • View Checklist

    View Checklist

    Mountains and Rivers: Scenic Views of Japan, July 10, 2009-November 1, 2009 The landscape has long been an important part of Japanese art and literature. It was first celebrated in poetry, where invoking the name of a famous location, or meisho, was meant to summon a certain feeling. Later, paintings of these same locations would bring to mind their well-known poetic and literary history. Together, the poems and imagery comprised a canon of place and sentiment, as the same meisho were rendered again and again. During the Edo period (1603–1868) the landscape genre, initially available only to the elite, spread to the medium of woodblock printing, the art of commoner culture. In the 19th century, when most of the works in this exhibition were made, several factors led to the rise of the landscape genre in woodblock prints. Up to this time, the staples of the woodblock print medium had been images of beautiful courtesans and handsome kabuki theater actors. First among these factors was the rising popularity of domestic travel. The development of a system of major roads allowed many people to travel for both business and pleasure. Woodblock prints of locations along these travel routes could function as souvenirs for those who made the trip or as fantasy for those who could not. Rather than evoking a poetic past, these images of meisho were meant to tantalize viewers into imagining romantic far-off places. Another factor in the growth of the genre was the skill of two particular woodblock print artists— Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858) (whose works are heavily represented here).
  • Chapter5: Ainsworth's Beloved Hiroshige

    Chapter5: Ainsworth's Beloved Hiroshige

    No. Artist Title Date Around Tenpō 14-Kōka 1 150 Utagawa Kuniyoshi Min Zigian (Binshiken), from the series A Mirror for Children of the Twenty-four Paragons of Filial Piety (c.1843-44) 151 Utagawa Kuniyoshi The Ghosts of the Slain Taira Warriors in Daimotsunoura Bay Around Kaei 2-4 (c.1849-51) Around Tenpō 14-Kōka 3 152 Keisai Eisen View of Kegon Waterfall, from the series Famous Places in the Mountains of Nikkō (c.1843-46) Chapter5: Ainsworth's Beloved Hiroshige 153 Utagawa Hiroshige Leafy Cherry Trees on the Sumidagawa River, from the series Famous Places in the Eastern Capital Around Tenpō 2 (c.1831) 154 Utagawa Hiroshige First Cuckoo of the Year at Tsukuda Island, from the series Famous Places in the Eastern Capital Around Tenpō 2 (c.1831) Clearing Weather at Awazu, Night Rain at Karasaki, Autumn Moon at Ishiyamadera Temple, Descending 155-162 Utagawa Hiroshige Geese at Katada, Sunset Glow at Seta, Returning Sails at Yabase, Evening Bell at Mii–dera Temple, Around Tenpō 2-3 (c.1831-32) Evening Snow at Hira, from the series Eight Views of Ōmi 163-164 Utagawa Hiroshige Morning Scene of Nihonbashi Bridge, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5 (c.1834) 165 Utagawa Hiroshige A Procession Sets Out at Nihonbashi Bridge, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5-6 (c.1834-35) 166 Utagawa Hiroshige Morning Mist at Mishima, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5 (c.1834) 167 Utagawa Hiroshige Twilight at Numazu, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5-6 (c.1834-35) 168 Utagawa Hiroshige Mt.
  • Utagawa Hiroshige

    Utagawa Hiroshige

    Utagawa Hiroshige Contemporary Landscapes Utagawa Hiroshige (Japanese: 歌川 広重), also Andō Hiroshige (Japanese: 安藤 広重; 1797 – 12 October 1858) was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular Thirty-six Views of Mount Fuji series by Hokusai was a strong influence on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints. For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism. Western artists closely studied Hiroshige's compositions, and some, such as van Gogh, painted copies of Hiroshige's prints. Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo (modern Tokyo).[1] He was of a samurai background,[1] and was the great-grandson of Tanaka Tokuemon, who held a position of power under the Tsugaru clan in the northern province of Mutsu.
  • Lesson 4 – Evolution of Nocturnes, Main Lesson 1 Lesson 4: Evolution

    Lesson 4 – Evolution of Nocturnes, Main Lesson 1 Lesson 4: Evolution

    Lesson 4 – Evolution of Nocturnes, Main Lesson 1 Lesson 4: Evolution of Nocturnes, Towards Abstraction “Look how the Japanese understand this! the same colour reappearing continually here and there like the same thread in an embroidery … the whole forming in this way an harmonious pattern” - James McNeill Whistler to Henri Fantin-Latour “As the light fades and the shadows deepen, all petty and exacting details vanish, everything trivial disappears, and I see things as they are in great strong masses … And that, night cannot efface from the painter's imagination.” - James McNeill Whistler Introduction Guiding Questions Learning Objectives Background for Teachers Preparing to Teach This Lesson Suggested Activities Activity 1. Compare and Contrast the Hiroshige print Nihonbashi, “Portrait of Artist’s Mother”, and “Nocturne Southampton Water” Lesson 4.1 Small Images and Quotes Sheet Lesson 4.2 Compare Hiroshige, Mother, Nocturne Worksheet Art Image: Hiroshige, Nihonbashi, 1855 Art Image: Whistler, Arrangement in Grey and Black No.1, Portrait of the Artist's Mother, 1871 Art Image: Whistler, Nocturne: Blue and Gold--Southampton Water, 1872 Activity 2. View “Falling Rocket” Art Image: Whistler, Nocturne in Black and Gold, The Falling Rocket Activity 3. Read Whistler v. Ruskin: Aesthetics on Trial Lesson 4.3 Whistler v. Ruskin: Aesthetics on Trial Lesson 4 – Evolution of Nocturnes, Main Lesson 2 Activity 4 Assessment. Write an Analytical Criticism of Nocturne in Black and Gold, The Falling Rocket Lesson 4.4 Assessment of Critical Analysis of Falling Rocket assignment Activity 5 Studio. Paint a Nonliteral Scene from Memory Activity 6 Lesson Extension. Hiroshige and Whistler Comparison Activity 7 Lesson Extension.
  • 書 Work, Modern Eyes See the Origins of Aiming at in the Image Above Left? Is He 27 August to April 2017

    書 Work, Modern Eyes See the Origins of Aiming at in the Image Above Left? Is He 27 August to April 2017

    月百姿 A hundred moons in Sydney One hundred aspects of the moon is the last series of ukiyo-e woodblock prints by Tsukioka Yoshitoshi (1839-92). It is generally considered to be the artist’s masterpiece. The Art Gallery of New South Wales has the complete series in its collection and it will be shown in its entirety for the first time from 20 August to 20 November 2016. Tsukioka Yoshitoshi, known as of his more gruesome early works woman desperately trying to avoid in Yoshitoshi, was active during the last with their splatters of blood. It was for the print below? Or is she even fleeing? years of the Edo Shogunate and the these works that Yoshitoshi was first If the thought of seeing all one hundred first of the Meiji Period a time when known during his lifetime. However, it aspects of the moon in one go is a little Japan eagerly embraced Western seems that public taste changed and overwhelming, don’t worry. Tsukioka technology. At first Yoshitoshi was he stopped receiving commissions. His Yoshitoshi: One hundred aspects of profile rose again thanks to the moon is a free exhibition, so you newspapers. Newspaper circulation can visit as often as you want. boomed in the 1870s and 80s, and this increased the demand for www.artgallery.nsw.gov.au woodblock print artists who worked as illustrators. The prints that make up One hundred aspects of the moon certainly tell a story, from action packed to contemplative. Designed over the last seven years of Yoshitoshi’s life from 1885 to 1892, One hundred aspects of the moon draws inspiration from Chinese and Dawn moon and the tumbling snow— Kobayashi Heihachiro Tsukioka Yoshitoshi, One hundred aspects of the moon, 1885-1892 Moon of pure snow at Asano River—Chikako, the filial daughter among those keen to adopt Western Japanese legends and history, techniques in art, but he came to reject literature, theatre and folklore.
  • Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū

    Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū

    Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino Submitted in partial fulfillment of the Requirement for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Takuya Hino All rights reserved ABSTRACT Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino In this dissertation I provide a detailed analysis of the role played by the Tachikawa-ryū in the development of Japanese esoteric Buddhist doctrine during the medieval period (900-1200). In doing so, I seek to challenge currently held, inaccurate views of the role played by this tradition in the history of Japanese esoteric Buddhism and Japanese religion more generally. The Tachikawa-ryū, which has yet to receive sustained attention in English-language scholarship, began in the twelfth century and later came to be denounced as heretical by mainstream Buddhist institutions. The project will be divided into four sections: three of these will each focus on a different chronological stage in the development of the Tachikawa-ryū, while the introduction will address the portrayal of this tradition in twentieth-century scholarship. TABLE OF CONTENTS List of Abbreviations……………………………………………………………………………...ii Acknowledgements………………………………………………………………………………iii Dedication……………………………………………………………………………….………..vi Preface…………………………………………………………………………………………...vii Introduction………………………………………………………………………….…………….1 Chapter 1: Genealogy of a Divination Transmission……………………………………….……40 Chapter
  • The Samurai in JAPANESE HISTORY

    The Samurai in JAPANESE HISTORY

    ONCE AND FUTURE WARRIORS The Samurai IN JAPANESE HISTORY By Karl Friday he samurai exercise a powerful hold on popular imaginations, both in and out of Japan, rival- T ing cherry blossoms, geisha, and Sony as Japanese cultural icons. Emerging during the early part of the Heian period (794–1185), these war- riors—known as bushi, tsuwamono, musha, mononofu, and other names at various times in their history—dominated the political and economic land- scape by the early 1200s, and ruled outright from the late fourteenth to the late nineteenth century. Their story is, therefore, central to the history of premodern and early modern Japan, and has become the subject of dozens of popular and scholarly books. It also inspires a veritable Mt. Fuji of misperceptions and misin- formation—a karate instructor in Japan once told me of a New Zealand man who came to live and train with him, and who was absolutely convinced that samurai were still living on some sort of reservation on the back side of a nearby mountain! Until a generation ago, scholars pondering the samurai were Detail from the Mounted Warrior all-too-readily seduced by perceptions of an essential similarity Hanging scroll; ink and color on silk between conditions in medieval Japan and those of northwestern Nanbokuch¯o period, fourteenth century Agency for Cultural Affairs, Tokyo. Important Cultural Europe. Samurai and daimy¬ (the regional military lords who Property Image source: Japan: The Shaping of Daimyo Culture 1185–1868, emerged during Japan’s late medieval age) were equated with edited by Yoshiaki Shimizu. Published by the National Gallery of Art, Washington, 1988 knights and barons; and theories on the origins and evolution of the samurai were heavily colored by conceptions of how the knights and their lords had come to be.
  • Minneapolis Institute of Art to Present Retrospective of Yoshitoshi, Japan’S Last Great Master of Woodblock Prints

    Minneapolis Institute of Art to Present Retrospective of Yoshitoshi, Japan’S Last Great Master of Woodblock Prints

    PRESS RELEASE Minneapolis Institute of Art to Present Retrospective of Yoshitoshi, Japan’s Last Great Master of Woodblock Prints 2400 Third Avenue South Minneapolis, MN 55404 artsmia.org Moon: Actor Ichikawa Sanshō as Kezori Kuemon, from the series The Snow, Moon, and Flowers (Setsugekka no uchi), 1890, Published by Akiyama Buemon, Carved by Wada Yūjirō, Woodblock print (nishiki-e); ink and color on paper, The Mary Griggs Burke Endowment Fund established by the Mary Livingston Griggs and Mary Griggs Burke Foundation, gifts of various donors, by exchange, and gift of Edmond Freis in memory of his parents, Rose and Leon Freis 2017.106.239 MINNEAPOLIS—January 7, 2020—A new exhibition at the Minneapolis Institute of Art (Mia) celebrates the work of Tsukioka Yoshitoshi (1839–1892), considered the last major artist of the traditional Japanese woodblock print, known as ukiyo-e. “Yoshitoshi: Master Draftsman Transformed” highlights the artist’s process, his technical and innovative skills as a draftsman, and how he responded to Japan’s changing cultural tastes between 1860 and 1890. The 43 artworks on display—ranging from sketches, drawings, paintings, and many printed masterworks—include a selection from Mia’s 2017 acquisition of nearly 300 objects by Yoshitoshi from the Edmond Freis collection. The exhibition is on view February 1 through April 12, 2020, in Mia’s Cargill Gallery. “Yoshitoshi was a formidable draftsman and the exhibition includes works by his own hands that showcase his innovative vision and skills and how his original idea was turned into a woodblock print,” said Andreas Marks, PhD, Mary Griggs Burke Curator of Japanese & Korean Art at Mia.
  • A Pure Invention: Japan, Impressionism, and the West, 1853-1906

    A Pure Invention: Japan, Impressionism, and the West, 1853-1906

    A Pure Invention: Japan, Impressionism, and the West, 1853-1906 Amir Abou-Jaoude Senior Division, Historical Paper 2,494 words Introduction The playwright and poet Oscar Wilde traveled little outside of Europe, yet he felt as if he had journeyed to Japan. In 1891, he wrote that after careful examination of the woodblock prints of artists like Hiroshige and Hokusai, you could “sit in the park or stroll down Piccadilly, and if you cannot see an absolutely Japanese effect there, you will not see it anywhere”1—not even, Wilde proclaimed, in Tokyo itself. Forty years earlier, in 1851, Westerners had known little about the floating kingdom. Since the early 17th-century, Japan had been completely isolated from the West, save for a few Dutch traders who conducted business around Nagasaki. Then, in 1853, the American Commodore Matthew Perry forced Japan to trade with the West under threat of naval bombardment. Kimonos, fans, and especially woodblock prints by the great Japanese artists flooded European markets. These Japanese goods had a particularly profound impact on the arts. Debussy was inspired to write La mer (1905), his most groundbreaking and influential piece, after seeing Katsushika Hokusai’s print of Under the Wave off Kanagawa.2 The Soviet film director Sergei Eisenstein would turn to Japanese art as he was composing powerful cinematic images.3 Eventually, the image of the “Great Wave”4 that Debussy admired would become a symbol of all things Japan.5 The “Japanese effect” was most prominent in art. As Japanese art entered European salons, French artists were beginning to experiment with Impressionism.
  • Life in the Floating World: Worksheet 2 Download File (PDF)

    Life in the Floating World: Worksheet 2 Download File (PDF)

    Life in the Floating World: Ukiyo-e Prints and the Rise of the Merchant Class in Edo Period Japan — http://edsitement.neh.gov/view_lesson_plan.asp?id=611 Activity Four: Worksheet Student Name ___________________________________________________ Date ________________ Look at the following ukiyo-e prints. Take notes about everything you see in the image that seems important. What is the location? Are there people in the image? Who are they? What are people doing? What are they wearing and carrying? What information can you gather from this image about life in Edo Period Japan? What information can you gather from this image about Japanese society at this time? All of the images are part of Japan’s Nagoya Television’s online ukiyo-e museum, which is available through the EDSITEment reviewed web resource Teaching (and Learning) About Japan. • Utagawa Hiroshige’s print April (The First Bonito Catch from the Nihonbashi Bridge). This image is one of a series completed by Hiroshige illustrating the months of the year. The cycle is called Annual Events and Sites of Interest in Edo. ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________
  • Press Release

    Press Release

    FOR IMMEDIATE RELEASE Media Contact: Chelsea Mason, Marketing Director 626.449.2742 x22 [email protected] Pacific Asia Museum Announces New Exhibition Masterpieces of Tsukioka Yoshitoshi Pacific Asia Museum presents Masterpieces of Tsukioka Yoshitoshi from May 18 through August 12, 2012 in the Changing Exhibition Galleries. This exhibition of over 100 prints, preparatory drawings, illustrated books and an original carved block marks the first time Pacific Asia Museum has presented a major exhibition of Yoshitoshi’s work. Tsukioka Yoshitoshi (1839-1892) is regarded as one of the most important Japanese printmakers of the 19th century. Trained originally as a student of Utagawa Kuniyoshi (1797-1861), Yoshitoshi broke new ground in composition, subject matter and technique in woodblock printing. The wide range of work in Masterpieces of Tsukioka Yoshitoshi Tsukioka Yoshitoshi, Saitō no Oniwakamaru, Japan, 1872, demonstrates the range of his creativity and Woodblock print on paper, Loaned by the Ed Freis Collection. draws attention to the critical relationships the artist shared with his publishers throughout his career as well as the effect of market forces on his work. The Meiji period (1868-1912) was a period of dynamic intercultural exchange and economic expansion in Japan, which is clearly reflected in Yoshitoshi’s work. Depictions of steam locomotives and European dress show a new cultural landscape, and his compositions bristle with hyper energy, distinctive shading and perspective. Other subjects include demons, ghosts, warriors, supernatural animals, popular Kabuki actors and well-known beauties, which have contributed to his ongoing popularity. Masterpieces of Tsukioka Yoshitoshi is on view concurrently with two other exhibitions exploring intercultural exchange between Japan and the West.
  • Tokugawa Japan Online Image List: Woodblock Prints by Ando Hiroshige

    Tokugawa Japan Online Image List: Woodblock Prints by Ando Hiroshige

    www.colorado.edu/ptea‐curriculum/imaging‐japanese‐history Tokugawa Japan Online Image List: Woodblock Prints by Ando Hiroshige Use the links below to find the nine woodblock prints by Ando Hiroshige. Record your analysis on Handout T1. 1. Nihonbashi http://www.mfa.org/collections/object/no‐1‐nihonbashi‐from‐the‐series‐the‐ t%C3%B4kaid%C3%B4‐road‐the‐fifty‐three‐stations‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐ tsugi‐no‐uchi‐also‐known‐as‐the‐aritaya‐t%C3%B4kaid%C3%B4‐236785 2. Shinagawa http://www.mfa.org/collections/object/no‐2‐shinagawa‐yatsuyama‐from‐the‐series‐the‐ t%C3%B4kaid%C3%B4‐road‐the‐fifty‐three‐stations‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐ tsugi‐no‐uchi‐217436 3. Goyu http://www.mfa.org/collections/object/goyu‐from‐the‐series‐fifty‐three‐stations‐of‐the‐ t%C3%B4kaid%C3%B4‐road‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐tsugi‐also‐known‐as‐the‐ ky%C3%B4ka‐t%C3%B4kaid%C3%B4‐178060 4. Okazaki http://www.mfa.org/collections/object/no‐39‐okazaki‐yahagi‐bridge‐on‐the‐yahagi‐river‐ okazaki‐yahagigawa‐yahagi‐no‐hashi‐from‐the‐series‐famous‐sights‐of‐the‐fifty‐three‐stations‐ goj%C3%BBsan‐tsugi‐meisho‐zue‐also‐known‐as‐the‐vertical‐t%C3%B4kaid%C3%B4‐208026 5. Seki http://www.mfa.org/collections/object/seki‐from‐the‐series‐fifty‐three‐stations‐of‐the‐ t%C3%B4kaid%C3%B4‐road‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐tsugi‐also‐known‐as‐the‐ ky%C3%B4ka‐t%C3%B4kaid%C3%B4‐178072 6.