Utagawa Hiroshige The production date: c.1847-1852 (c.Kouka 4-Kaei 5) Publisher: Sumimasa Enoshima Island became a very popular resort during the late Edo period, since it was conveniently close from Edo, or present day Tokyo, and as a result, it attracted many tourists together with the worshippers of the Benzaiten. During the Edo period, it was very popular to pay homage to Enoshima by forming a group called kouchu (Kouchu was group of people gather together for a common aim, but not a political organization). Enoshima Island was especially crowded when Midoshi Kaichou (Kaichou ceremony on the year of snake from the twelve animals of the Chinese zodiac) took place once in every six year. This particular work is part of a trilogy together with “A View of Pilgrims Visiting the Kaichou Ceremony at the Hongu (the main shrine) in a Cave of Enoshima Benzaiten in Sagami Province” and “The Pilgrimage of the Kaichou Ceremony at the Enoshima Benzaiten” published from the same publisher, Sumiyoshi-ya Masagorou.

Utagawa Hiroshige O-ban, vertical print The production date: 1855 (Ansei 2) Publisher: Tsutaya Kichizou Since all works from this series are the vertical prints, it is generally called “The Toukaidou in Vertical Pictures”. This work was produced in Hiroshige’s late year, when he was fifty-nine. In this series of the views of famous places, almost all post-stations are illustrated in the bird’s-eye-view and the perspective is used to illustrate the rows of houses and streets. As the title suggests, a view of Nango (present day: Chigasaki-city), the view of pine trees along the Toukaidou Highway is illustrated. Nango was the rest spot located between the Fujisawa post station and Hiratsuka post station, and this place was famous for its scenic point of “Hidari-Fuji”, or the Mt. Fuji is appears from the left, which was very rare along the Toukaidou Highway (Usually, if people travel to the direction of Kyoto, Mt. Fuji appears from the right side). Even today, we can enjoy the beautiful Hidari-Fuji from the Toriido Bridge.

Utagawa Hiroshige c.1840 (c.Tempou 11), Publisher: Sanoya Kihee This series of ukiyo-e is called “The Toukaidou with Kyouka Poems” since a kyouka poem is assorted to every ukiyo-e picture. The Daigiri Biridge (present day Yugyouji Bridge) and the First Torii Gate of Enoshima Island seeing from Yugyouji Temple are illustrated, which is the opposite composition of Houeidou version. The mountain on the background is the Mt. Oyama. The containers a figure on the bridge is carrying are omiki-waku, the containers carrying water and sake from Mt. Oyama, and symbolizing the pilgrimage to Mt. Oyama. A custom of post station such as the kousatsuba, a place to stand the signboards at the end of bridge is also illustrated. Utagawa Hiroshige Kansei 9~Ansei 5 (1799~1858) Hiroshige was a pupil of Utagawa Toyohiro. He also studied varieties of painting styles from Kano school, nan-ga (southern Chinese painting style), and Shijō school. He was active as an ukiyo-e artist from Bunsei 1 to his death (1818~1858). He first produced pictures of beautiful women, Kabuki actors and worriers, but from the Tempō era he was acknowledged as a leading landscape artist. He published many pictures of famous places such as the series “Fifty-three Stations of the Tokaido”. Hiroshige’s the other fortes were kachoga (picture of birds and flowers) and animal pictures.

Artist: Utagawa Hiroshige 1842 (Tempou 13) Publisher: Ezaki-ya Kichibee This series is called Gyousho script version of the Toukaidou according to the script style of the title. The first Torii Gate to Enoshima is illustrated at the right and the Daigiri Bridge (present day Yugyouji Bridge) is illustrated on the left. After crossing the Daigiri Bridge, this Torii gate indicates the entrance to the Enoshima Island line from the Toukaidou Highway. A person on the bridge is carrying omiki-waku, containers for water and sake from Mt. Oyama, thus indicating these travelers are way back from Mt. Oyama. Utagawa Hiroshige Kansei 9~Ansei 5 (1799~1858) Hiroshige was a pupil of Utagawa Toyohiro. He also studied varieties of painting styles from Kano school, nan-ga (southern Chinese painting style), and Shijō school. He was active as an ukiyo-e artist from Bunsei 1 to his death (1818~1858). He first produced pictures of beautiful women, Kabuki actors and worriers, but from the Tempō era he was acknowledged as a leading landscape artist. He published many pictures of famous places such as the series “Fifty-three Stations of the Tokaido”. Hiroshige’s the other fortes were kachoga (picture of birds and flowers) and animal pictures.

Utagawa Hiroshige O-ban polychrome print, 25.6 x 38.5cm 1832-1833 (Tempou 3-4) Hiroshige established the position as a premier landscape artist with the superior compositional ideas and the point of view of this masterpiece, from the series “Fifty-three Stations of the Toukaidou”. Ichi-no-Torii or the First Torii Gate of Enoshima Island situated at Fujisawa Post Station is illustrated with the Yugyouji-temple at its background. The bridge behind the Torii Gate is Daigiri Bridge (present day Yugyouji Bridge). People on the bridge are the pilgrims to Mt. Oyama and people just going through the Torii Gate with the sticks in their hands are the pilgrims to Enoshima Island. This work tells the contemporary viewers that Fujisawa Post Station was alive with tourists and the pilgrims for both sites. Utagawa Hiroshige Kansei 9~Ansei 5 (1799~1858) Hiroshige was a pupil of Utagawa Toyohiro. He also studied varieties of painting styles from Kano school, nan-ga (southern Chinese painting style), and Shijō school. He was active as an ukiyo-e artist from Bunsei 1 to his death (1818~1858). He first produced pictures of beautiful women, Kabuki actors and worriers, but from the Tempō era he was acknowledged as a leading landscape artist. He published many pictures of famous places such as the series “Fifty-three Stations of the Tokaido”. Hiroshige’s the other fortes were kachoga (picture of birds and flowers) and animal pictures.