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View of Futakawa (Futakawa no zu) (colour woodblock print)
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View of Futakawa (Futakawa no zu) (colour woodblock print)
5043860 View of Futakawa (Futakawa no zu) (colour woodblock print) by Kunisada, Utagawa (Toyokuni III) (1786-1865); Bristol Museum and Art Gallery, UK; (add.info.: No. 34 in the series, with background based on HiroshigeAs design for the First Tokaido. On yellow clouds a woman in blue kimono and headcloth stands smoking, left a T-house between trees, right man and two women with samisens and a biwa in valley below burned heath. Publisher: Moriya Jihei (Kinshind?). Signed: Gototei Kunisada ga. Censors seal: Kiwame. Publishers seal: Mori.
Fifty-three Stations of the T?kaid? Road (T?kaid? goj?san tsugi no uchi)); eBristol Museums, Galleries & Archives; Japanese, out of copyright
Media ID 23574268
© Bristol Museums, Galleries & Archives / Bridgeman Images
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View of Futakawa - A Serene Journey through Time
EDITORS COMMENTS
. This colour woodblock print, titled "View of Futakawa" takes us on a visual voyage to ancient Japan. Created by the renowned artist Kunisada, also known as Toyokuni III, this masterpiece is housed in the Bristol Museum and Art Gallery in the UK. The print showcases No. 34 in a series inspired by Hiroshige's design for the First Tokaido. Against a backdrop of vibrant yellow clouds, we are transported to a tranquil scene where nature and human presence harmoniously coexist. A woman dressed in an elegant blue kimono stands gracefully amidst towering trees, her headcloth gently fluttering in the breeze. Engrossed in contemplation, she leisurely enjoys her pipe while overlooking a picturesque river below. To her left lies a traditional T-house nestled among verdant foliage - an inviting sanctuary offering respite to weary travelers along their journey. On the right side of this idyllic landscape, we glimpse three figures; two women skillfully playing samisens (traditional Japanese string instruments) accompanied by a man strumming on a biwa (a lute-like instrument). Their melodies resonate through the valley beneath charred heath. Published by Moriya Jihei or Kinshind?, this artwork bears Kunisada's signature and is adorned with censors' seals denoting its authenticity. The publishers' seal from Mori further enhances its provenance. As we gaze upon
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