Utagawa Hiroshige (Ando) (Japanese, 1797-1858). <em>Tsukudajima From Eitai Bridge, No. 4 in One Hundred Famous Views of Edo</em>, 2nd month of 1857. Woodblock print, Image: 13 3/8 x 9 in. (34 x 22.9 cm). Brooklyn Museum, Gift of Anna Ferris, 30.1478.4 (Photo: Brooklyn Museum, 30.1478.4_PS1.jpg)

Tsukudajima From Eitai Bridge, No. 4 in One Hundred Famous Views of Edo

Artist:Utagawa Hiroshige (Ando)

Medium: Woodblock print

Geograhical Locations:

Dates:2nd month of 1857

Dimensions: Image: 13 3/8 x 9 in. (34 x 22.9 cm) Sheet: 14 3/16 x 9 1/4 in. (36 x 23.5 cm)

Collections:

Exhibitions:

Accession Number: 30.1478.4

Image: 30.1478.4_PS1.jpg,

Catalogue Description:
This night view looks from the mouth of the Sumida River out into Edo Bay, the view framed by a pillar of Eitai Bridge to the left and the scull of a fishing boat to the right. In the middle distance, the forms of the anchored cargo boats to the right and the two small fishing craft hidden behind the bridge pillar. The metal baskets of burning kindling (kagaribi) of these small boats reflect off the water. "The fishing boats here come from the island of Tsukudajima (see pl. 55) which lies in the distance under the night sky. Their catch is shirauo (white-fish), a tiny translucent fish which turns white when cooked. The Tsukudajima fishing boats were in the employ of the shogun, whose prescribed diet favored the bland taste of shirauo, and their bright fires were one of the familiar winter sights at the mouth of the Sumida River. The printing effects here are worth detailing. A deep pool of Prussian blue below suggests the shadow of the bridge, giving way through a bokashi gradation to the light blue of the moonlit sea. The bridge pillar and the scull are likewise enhanced by a blue bokashi where the water laps over them. The masts of the moored ships glitter with mica, suggesting the reflection of moonlight. Around the reflection of the kagaribi is a pool of white that lends warmth and intimacy to what might otherwise be a fairly chilly scene. Similarly, the far horizon is bright - a thin band of pink that seems less a literal depiction of dawn than an aesthetic separation of sea and sky. Through the darkened sky we see the subtle grain of the woodblock, against which the gibbous moon and stars stand out brightly. This print is one of only a few in which Hiroshige attempted to depict a starlit sky. Together with pl. 61, it is one of the most successful (see pls. 34, 113, 188)." (H. Smith in Braziller, 1986)

Brooklyn Museum