Evening Snow at Kanbara, Edo period (1615–1868), 1834
Ando Hiroshige (Japanese, 1797–1858)
Woodblock print; ink and color on paper; 8 7/8 x 13 3/4 in. (22.5 x 34.9 cm)
The Howard Mansfield Collection, Purchase, Rogers Fund, 1936 (JP2492)
By Juyi Bai of Tang Dynasty
Astonished at the chill of my quilt and pillow,
I then see the bright light through the window.
I know in the deep night snow must be heavy,
As the sounds of cracking bamboo come and go.
Thinking of Buddhist Hu on a Snowy Night
by Wang Wei of Tang Dynasty
In cold night the clepsydra tells the coming dawn,
In the clear mirror my own worn-out face I can sight.
I hear wind startle the bamboos outside the window,
Beyond the door the hills are all covered by snow white.
The falling snow makes the deep alley appear so quiet,
Blanketed in white the vast court in idleness does delight.
May I ask, my friend, in your cottage like Yuan An's,
Behind the closed doors are you still seeking true light?
The Plum Blossoms
by Wang An-shi of Song Dynasty
By the wall corner some plum blossoms
are blooming alone against the cold sky.
From afar I know they are no white snow,
for the delicate fragrance is drifting by.
Lodging in Mount Lotus on a Snowy Day
By Liu Chang-qing of Tang Dynasty
The green hills at sunset appear very far,
In the cold stands a shabby cottage of white.
At the thatched gate a barking dog is heard,
Someone is returning on a snowstormy night.
To echo Ziyou's Thoughts about MianChi
by Su Shi of Song Dynasty
What shall our wandering life be likened to?
It resembles a goose landing on slushy snow.
Its claw prints occasionally remain in the mud,
But which direction it may fly, it doesn't know.
Upon a senior monk's death a new stupa is built,
Along with crumbled wall away old inscriptions go.
We once trudged far with a braying lame donkey,
Do you still remember the rugged journey of long ago?
Asking Liu Nineteen
by Bai Juyi of Tang Dynasty
Atop the newly brewed wine tiny green foams float,
From a small red-clay stove flaring flames shine.
As evening approaches the snow is about to fall,
My friend, may I entreat you for a drink of wine?
Utagawa Hiroshige (Japanese: 歌川 広重), also Andō Hiroshige (Japanese: 安藤 広重; 1797 – 12 October 1858) was a Japanese ukiyo-e artist, considered the last great master of that tradition.
Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. 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 Thirty-six Views of Mount Fuji series by Hokusai was a strong influnce on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints.
Hokusai and Hiroshige: Great Japanese Prints from the James A. Mic
Utagawa Hiroshige (1797-1858) stands without equal when it comes to the poetic evocation of daily life amid the Japanese landscape. One Hundred Famous Views of Edo, the last of his many series of woodblock prints, acts as a great summing up, for it offers a geographic and seasonal panorama of Edo (modern Tokyo), the shogun's capital city and the locale that Hiroshige personally knew best.
This print, a highlight of the series, depicts a summer storm unleashing a torrent of rain upon the city. A few unlucky townspeople caught o Ohashi Bridge attempt to stay dry under umbrellas, hats and straw raincoats. A lone raftsman meanwhile continues poling his craft upstream, silently enduring the downpour.
The innovative vertical format of this series led Hiroshige, late in his career, to attempt striking new effects. The bridge and the far (eastern) shore of the river appear to converge somewhere beyond the right edge of the print, and the rain is printed in lines of black and grey set at slightly different angles, as though the storm were viewed through deep distance. The red cartouche at top right contains the series title; the cartouche beside it contains the title of the print; and the cartouche at bottom left contains the artist's signature.
Another example of the deep influence exercised by ukiyo-e prints on Post-impressionist artists ( see also Courtesan, p. 864), this print inspired Vincent van Gogh's oil painting Bridge in the Rain (1887).
Sudden Shower over Ohashi Bridge and Atake by Utagawa Hiroshige