Ishibe Station 石部 from 53 Stations of the Tōkaidō 東海道五十三次之内

Name/Title

Ishibe Station 石部 from 53 Stations of the Tōkaidō 東海道五十三次之内

Entry/Object ID

1995.12.19

Type of Print

Woodcut

Artwork Details

Medium

Paper, ink

Acquisition

Accession

1995.12

Source or Donor

Edward Stowe Akeley

Credit Line

Courtesy of Edward Stowe Akeley

Made/Created

Artist Information

Artist

Utagawa Hiroshige 歌川 広重

Role

Artist

Manufacturer

Yamada-ya Shōjirō 山田屋庄次郎

Date made

circa 1840

Time Period

19th Century

Place

Country

Japan

Inscription/Signature/Marks

Type

Inscription

Location

upper right

Transcription

東海道五十三次之内 石部

Language

Japanese

Translation

Fifty Three Stations of the Tōkaidō Ishibe Station

Material/Technique

Ink, Written

Type

Signature

Location

upper left

Transcription

広重画

Language

Japanese

Translation

Hiroshige ga

Material/Technique

Ink, Written

Lexicon

Nomenclature 4.0

Nomenclature Tertiary Object Term

Woodcut

Nomenclature Secondary Object Term

Print, Relief

Nomenclature Primary Object Term

Print

Nomenclature Sub-Class

Graphic Documents

Nomenclature Class

Documentary Objects

Nomenclature Category

Category 08: Communication Objects

Other Names and Numbers

Notes

868767

Dimensions

Height

9 in

Width

13-1/2 in

Provenance

Notes

Professor Edward Akeley (1894-1984) and Mrs. Anna Akeley (1904-2004), West Lafayette, IN; donated to Purdue Galleries in 1995.

Interpretative Labels

Label Type

Cultural/Historical Context

Label

"A favorite theme for Hiroshige, the Tokaido road stretched for more than 300 miles between the two major capitals of Edo (current day Tokyo) and Kyoto, the home of the Emperor. Once a year, the princes of outlying provinces were required to travel to the Edo palace of the Shogun to pay homage; of the five major routes, the Tokaido Road was the greatest. The fifty-three stations, or stopping places, were established along the Tokaido road as posts where travelers could find food and lodging. Typically, horses were only used by messengers but it was also possible for the weary pilgrim to rent horses or palanquins - litters or chairs borne by human bearers. Here, a group of travelers stand near a signpost at the entrance to a palisaded wall with their horses. -- Ukiyo-e (Pictures of a Floating World) For over two hundred years, 1640 to 1853, the ports of Japan were virtually closed to the outside world. During this period of isolation a unique and technically unrivaled art emerged--the Ukiyo-e woodblock print. Ukiyo-e, “pictures of a floating world,” evolved to meet the demands of a rising merchant class for an an that reflected its own interests and amusements. The subjects depicted were Kabuki theater, famous courtesans, genre scenes and famous sights. These prints reached their summit in the latter part of the 18th and the first half of the 19th centuries. The process of production demanded a team effort between the artist-designer, the woodblock cutter, the printer and the publisher. Hiroshige, Utamaro, Eizan, and Buncho are but a few of the great Japanese artists who were engaged in this popular and highly lucrative art. Distributed in mass quantities as souvenirs, handbills, and posters, the prints became increasingly popular among the Japanese throughout the 19th century. This popularity spread to the Western world following the Meiji Restoration in 1868. The Ukiyo-e influence, both direct and indirect, upon Western art can be seen in the works of many European and American artists including James Whistler, Van Gogh, Toulouse-Lautrec, Mary Cassatt, and other Impressionists and Post-Impressionists."