Winter
Woodblock Print
1843-1847 (made)
1843-1847 (made)
Artist/Maker | |
Place of origin |
This elegantly composed uchiwa-e, or rigid fan print, design by Hiroshige has survived in good condition despite having been salvaged, as the ribmarks on its surface indicate, from a made-up fan. It consists of a close-up view of a flower arrangement in front of a painting mounted as a hanging scroll such as might be found in the 'tokonoma' or display alcove of a Japanese room. In this case the chill of winter is portrayed by a snowy view of the 'torii' gate of the Mimeguri Shrine seen across the reaches of the Sumida river in Edo (modern Tokyo). The starkness of the image is relieved by the curving form of the narcissus on the right and the deep red of the camellia on the left. The artist's signature appears to be appended to the painting rather than to the print as a whole. This was a common contrivance in compositions of this kind.
Object details
Categories | |
Object type | |
Titles |
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Materials and techniques | Colour print from woodblocks |
Brief description | Woodblock print, Utagawa Hiroshige I; 'Winter', from the series 'Fashionable Flower Arrangements of the Four Seasons'; fan print, Japanese, 1843-1847 |
Physical description | Fan print, aiban size. Artist signature: Hiroshige hitsu. Artist seal: Ichiryusai. Publisher Mark: Gankiken of Shiba. Censor seal: Fu. |
Style | |
Credit line | Webb Bequest |
Summary | This elegantly composed uchiwa-e, or rigid fan print, design by Hiroshige has survived in good condition despite having been salvaged, as the ribmarks on its surface indicate, from a made-up fan. It consists of a close-up view of a flower arrangement in front of a painting mounted as a hanging scroll such as might be found in the 'tokonoma' or display alcove of a Japanese room. In this case the chill of winter is portrayed by a snowy view of the 'torii' gate of the Mimeguri Shrine seen across the reaches of the Sumida river in Edo (modern Tokyo). The starkness of the image is relieved by the curving form of the narcissus on the right and the deep red of the camellia on the left. The artist's signature appears to be appended to the painting rather than to the print as a whole. This was a common contrivance in compositions of this kind. |
Collection | |
Accession number | E.4829-1919 |
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Record created | February 12, 2004 |
Record URL |
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