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Shinagawa: departure of a Daimyo, in later editions called Sunrise, No. 2 from the series 53 Stations of the Tokaido ('Tokaido gojusan tsugi no uchi'), pub. by Hoeido, 1834-35 (colour woodblock print)
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Shinagawa: departure of a Daimyo, in later editions called Sunrise, No. 2 from the series 53 Stations of the Tokaido ('Tokaido gojusan tsugi no uchi'), pub. by Hoeido, 1834-35 (colour woodblock print)
XIR192400 Shinagawa: departure of a Daimyo, in later editions called Sunrise, No.2 from the series 53 Stations of the Tokaido ('Tokaido gojusan tsugi no uchi'), pub. by Hoeido, 1834-35 (colour woodblock print) by Hiroshige, Ando or Utagawa (1797-1858); Musee des Beaux-Arts, Angers, France; Japanese, out of copyright
Media ID 12751094
© Bridgeman Images
Cargo Junk Ukiyo E Yoko E Sun Rising
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EDITORS COMMENTS
This print titled "Shinagawa: departure of a Daimyo, in later editions called Sunrise, No. 2 from the series 53 Stations of the Tokaido" takes us back to 19th century Japan. Created by Hiroshige, Ando or Utagawa between 1834-35, this colour woodblock print showcases their mastery in capturing the essence of Japanese culture and landscapes. The image depicts Shinagawa, a bustling port and harbour filled with activity. A majestic junk boat is seen anchored near the shore while smaller vessels navigate through calm waters. The rising sun casts a warm glow over the scene, symbolizing new beginnings and promising adventures ahead. Intricate details are evident throughout the artwork - from the meticulously rendered cargo on board to the delicate brushstrokes that bring life to every element. This ukiyo-e style print offers viewers a glimpse into daily life during this era; it transports us to an enchanting world where tradition meets modernity. Displayed at Musee des Beaux-Arts in Angers, France, this piece represents not only an important part of Japanese art history but also serves as a reminder of our shared human experiences across time and cultures. It invites contemplation about journeys taken and those yet to come - both literal and metaphorical. As we admire this remarkable work by Hiroshige (Ando or Utagawa), let us appreciate its beauty and significance as a testament to artistic excellence that transcends borders and
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