Shiojiri Pass, View Of Lake Suwa

Title

Shiojiri Pass, View Of Lake Suwa

Artist

Utagawa Hiroshige

Medium

Painting

Description

Shiojiri Pass, View of Lake Suwa, Utagawa Hiroshige, Shiojiri-shuku (塩尻宿, Shiojiri-shuku) was the thirtieth of the sixty-nine stations of the Nakasendō. It is located in the central part of the present-day city of Shiojiri, Nagano Prefecture, Japan. This area was originally built by Ōkubo Nagayasu in the Keichō era of the early Edo period. There was a shorter route along the Nakasendō that connected Shimosuwa-shuku and Niekawa-juku directly, but the route was changed to include this post town, as well as Seba-juku and Motoyama-juku, after Ōkubo's death. It eventually became the connecting post town between Shimosuwa-shuku and Seba-juku. During its most prosperous period, there were over 70 buildings in the town and it thrived as one of the kokudaka of the Matsumoto Domain. Because of its size, it was divided into "upper," "central" and "lower" portions. During the Meiji period, there was a large fire, which destroyed most of the town. The post station also served as one terminus for the Sanshū Kaidō, a trade route which brought salt to Japan's interior. Records show that in 1843, Shiojiri-juku had 794 residents and 166 buildings. Among the building, there was one honjin, one sub-honjin, and 75 hatago. Utagawa Hiroshige Japanese 1797 – 1858, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the Tokaido and for his vertical-format landscape series One Hundred Famous Views of Edo. 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 series Thirty-six Views of Mount Fuji 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. Subtle use of color was essential in Hiroshige’s prints, often printed with multiple impressions in the same area and with extensive use of bokashi (color gradation), both of which were rather labor-intensive techniques.

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August 22nd, 2021

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