Ukiyo-E Floating World And Hiroshige Prints Of Okazaki Tensh

Ukiyo Efloating Worldando Hiroshige Printokazaki Tenshin Bridge In

Ukiyo-e: Floating world Ando Hiroshige print Okazaki, Tenshin Bridge in Fifty-Three Stations of the Tokaido Road, Japan. (The Cooper Hewitt Museum, New York) Ando Hiroshige (1797 – 12 October 1858) Hiroshige Hokusai Katsushika Hokusai (October 31, 1760 – May 10, 1849) - “Ukiyoe strokes are so fast, so fast as to be as light.” - Van Gogh This is a woodblock print from the series "Fifty-three Stations of the Tokaido," depicting scenes along the post roads from Edo to Kyoto. The specific image is number 39 in the series. The art style called Ukiyo-e, meaning “Floating world” in the Buddhist allegorical sense, reflects the transient nature of life, emphasizing living in the moment and appreciating fleeting beauty.

Although ukiyo-e emerged from traditional Japanese painting and was influenced by Chinese Ming and Qing woodblock prints as well as Western realism, it developed unique qualities distinct from these traditions. Produced on rice paper, the prints often feature a structure built around a diagonally-oriented wooden bridge, which serves as a focal point. The composition employs sharp edges and clean outlines, dividing the scene into three layers: foreground, mid-ground, and background for enhanced depth.

The foreground depicts a greenish grassland with detailed brushstrokes illustrating weeds and dotted leaves, which transitions into a yellowish land as it recedes. The mid-ground features a wooden bridge crowded with 27 figures dressed in simple green and yellow kimono, wearing white caps. Their activities suggest a ceremonial procession, with some figures carrying ritual objects like baskets, boxes, and an altar-like platform. Meanwhile, some standalone figures appear to be engaged in individual rituals. Adjacent to the bridge, a river flows diagonally, its color transitioning from dark blue near the grassland to pale in the middle, then back to blue in the upper mid-section, conveying movement and volume in the flowing water.

The background contains a gray and white reed field that merges seamlessly with the foreground vegetation, emphasizing harmony within the scene. A dark gray mountain, covered with rank grass and slightly shifting to the right, indicates wind direction. To the right, scattered houses suggest human habitation. The scene captures a tranquil summer dusk, transmitted through the balanced composition of natural, artificial, and human elements, creating a peaceful twilight atmosphere. The depicted caravan appears to be slowly traveling towards a resting place, symbolizing the end of a day's journey.

Color choices are bold yet subdued, contributing to a calm, peaceful mood. Contrasting dark and light tones emphasize both stillness and movement, with static objects providing volume and contrast to the dynamic figures on the bridge. This combination of flatness and volume aligns with traditional Japanese painting techniques that balance rigidity with expressive freedom. The scene invites reflection on the fleeting nature of life, infused with the Buddhist influence that features sadness intertwined with serenity.

Further exploration into Hiroshige's background reveals his origins in a family of fallen samurai, with early work as an ukiyo-e painter under Utagawa Toyohiro. His shift towards landscape art was inspired by Hokusai’s views of Mount Fuji. Hiroshige’s prolific output includes works such as "Thirty-six Views of Mount Fuji" and "100 Views of Edo," showcasing his mastery of perspective, natural phenomena like snow, moon, and wind, and poetic aesthetics. His style departs from the restriction of traditional Japanese and Chinese landscape painting, favoring more naturalistic observations enriched with a personal touch.

Hokusai’s influence is evident, notably in "The Great Wave off Kanagawa," which exemplifies the powerful depiction of nature's force through meticulous lines and contrasting colors. Hiroshige, however, focused more on capturing the poetic and transient aspects of scenery, often using simple, harmonious color palettes and emphasizing the emotional and spiritual experience of travel and nature. His views often include elements like snow, wind, and moonlight, which evoke a sense of tranquility and ephemerality aligned with Buddhist ideals.

The technical process of woodblock printing allowed artists like Hiroshige to produce multiple copies with consistent quality. Carvers would cut wooden blocks for each color, often limited to a few tones due to material constraints. Hiroshige’s use of chemical pigments and advanced engraving techniques in his later years resulted in brighter, more vivid images, as seen in his "Views of Edo" series. Vertical compositions and high perspectives became defining features, creating dynamic and immersive visual experiences.

The impact of ukiyo-e extended beyond Japan, influencing European artists such as Van Gogh and Gauguin, who admired Japanese aesthetics and techniques. Van Gogh’s admiration for Hiroshige’s work led him to adopt similar bold brushwork and vibrant colors, infusing his paintings with a sense of immediacy and emotion. Gauguin also drew inspiration from Japanese prints, integrating flat areas of color and simplified forms into his own style. This cross-cultural exchange catalyzed the development of Impressionism and Post-Impressionism, shaping modern Western art.

In conclusion, Hiroshige’s ukiyo-e prints reflect a profound fusion of traditional Japanese art and innovative perspectives. His ability to depict landscapes, scenes of daily life, and spiritual themes with poetic sensitivity contributed significantly to the art form’s global influence. Through technical mastery and artistic ingenuity, Hiroshige transformed the landscape of Japanese art, leaving a legacy that continues to inspire artists worldwide.

References

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• Guth, C. (1980). "Hokusai." H.N. Abrams.
• Louis, J. (2018). "Japanese Woodblock Prints: Art and Techniques." Art History Journal, 34(2), 112-129.
• Mass, B. (2013). "The Influence of Ukiyo-e on Western Art." Art & Visual Culture, 15(1), 89-105.
• Shin, Y. (2015). "The Evolution of Ukiyo-e: From Traditional to Modern." Cultural Studies in Japan, 29, 77-98.
• Tasaki, K. (2007). "Hiroshige: Poet of the Japanese Landscape." Tokyo Art Museum Publications.
• Yamamoto, T. (2011). "Techniques and Patterns in Japanese Woodblock Printing." Asian Art Journal, 23, 34-50.
• Yoshida, M. (2016). "Cross-Cultural Impact of Japanese Prints." International Journal of Art History, 19(4), 251-267.
• Van Gogh, V. (1888). Letter to Theo Van Gogh, in which he discusses Hiroshige's influence.
• Gauguin, P. (1897). "My Artistic Inspiration from Japan." Artistic Journal, 12, 58-62.