The Fifty-three Stations of the Tōkaidō

a list of the 53 [[shukuba
Series of ukiyo e by Utagawa Hiroshige

The Fifty Three Stations of the Tōkaidō (東海道五十三次), in the Hōeidō edition (1833–1834), is a series of ukiyo e woodcut prints created by Utagawa Hiroshige after his first travel along the Tōkaidō in 1832. The Tōkaidō road, linking the shōguns capital, Edo, to the imperial one, Kyōto, was the main travel and transport artery of old Japan. It is also the most important of the "Five Roads" (Gokaidō)—the five major roads of Japan created or developed during the Edo period to further strengthen the control of the central shogunate administration over the whole country. Even though the Hōeidō edition is by far the best known, The Fifty Three Stations of the Tōkaidō was such a popular subject that it led Hiroshige to create some 30 different series of woodcut prints on it, all very different one from the other by their size (ōban or chuban), their designs or even their number (some series include just a few prints). The Hōeidō edition of the Tōkaidō is Hiroshige's best known work, and the best sold ever ukiyo e Japanese prints. Coming just after Hokusai's Thirty six Views of Mount Fuji series, it established this new major theme of ukiyo e, the landscape print, or fūkei ga, with a special focus on "famous views".

The Tōkaidō was one of the Five Routes constructed under Tokugawa Ieyasu, a series of roads linking the historical capital of Edo with the rest of Japan. The Tōkaidō connected Edo with the then capital of Kyoto. The most important and well traveled of these, the Tōkaidō travelled along the eastern coast of Honshū, thus giving rise to the name Tōkaidō ("Eastern Sea Road"). Along this road, there were 53 different post stations, which provided stables, food, and lodging for travelers.

In 1832, Hiroshige traveled the length of the Tōkaidō from Edo to Kyoto, as part of an official delegation transporting horses that were to be presented to the imperial court. The horses were a symbolic gift from the shōgun, presented annually in recognition of the emperor's divine status. The landscapes encountered during the journey left a profound impression on the artist, inspiring him to create numerous sketches throughout the trip and upon his return to Edo via the same route. Upon arriving home, he immediately commenced work on the first prints for The Fifty Three Stations of the Tōkaidō. The first of the prints in the series was published jointly by the publishing houses of Hōeidō and Senkakudō, with the former handling all subsequent releases on its own. The runaway success of The Fifty Three Stations of the Tōkaidō established Hiroshige as the most prominent and successful printmaker of the Tokugawa era. Hiroshige followed up on this series with The Sixty nine Stations of the Kiso Kaidō in cooperation with Keisai Eisen, documenting each of the post stations of the Nakasendō (which was alternatively referred to as the Kiso Kaidō).

The Hōeidō edition is properly titled (東海道五十三次之内). Besides the fifty three stations themselves, the series includes one print for the departure, Nihonbashi (the bridge of Japan), and a final one, the 55th print, Keishi, Kyoto, the imperial capital. No. Woodcut print Station no. and English name Japanese Transliteration 1 First edition:Second edition: Leaving Edo : Nihonbashi, (The bridge of Japan) Nihonbashi 2 1st station : Shinagawa. Shinagawa 3 2nd station : Kawasaki Kawasaki 4 3rd station : Kanagawa Kanagawa 5 4th station : Hodogaya Hodogaya 6 5th station : Totsuka Totsuka 7 6th station : Fujisawa Fujisawa 8 7th station : Hiratsuka Hiratsuka 9 8th station : Oiso (Rain on a town by the coast) Oiso 10 9th station : Odawara (Crossing the Sakawa river at a ford) Odawara 11 10th station : Hakone (High rocks by a lake) Hakone 12 11th station : Mishima (Travellers passing a shrine in the mist) Mishima 13 12th station : Numazu Numazu 14 13th station : Hara (Travellers passing Mount Fuji) Hara 15 14th station : Yoshiwara Yoshiwara 16 15th station : Kanbara (A village in the snow) Kanbara 17 16th station : Yui (Travellers on a high cliff by the sea) Yui 18 17th station : Okitsu Okitsu 19 18th station : Ejiri Ejiri 20 19th station : Fuchū Fuchū 21 20th station : Mariko (A roadside restaurant) Mariko 22 21st station : Okabe Okabe 23 22nd station : Fujieda Fujieda 24 23rd station : Shimada Shimada 25 24th station : Kanaya (Crossing a wide river) Kanaya 26 25th station : Nissaka Nissaka 27 26th station : Kakegawa Kakegawa 28 27th station : Fukuroi Fukuroi 29 28th station : Mitsuke Mitsuke 30 29th station : Hamamatsu Hamamatsu 31 30th station : Maisaka Maisaka 32 31st station : Arai Arai 33 32nd station : Shirasuka Shirasuka 34 33rd station : Futagawa Futagawa 35 34th station : Yoshida Yoshida 36 35th station : Goyu Goyu 37 36th station : Akasaka Akasaka 38 37th station : Fujikawa Fujikawa 39 38th station : Okazaki Okazaki 40 39th station : Chiryu Chiryu 41 40th station : Narumi Narumi 42 41st station : Miya Miya 43 42nd station : Kuwana Kuwana 44 43rd station : Yokkaichi Yokkaichi 45 44th station : Ishiyakushi Ishiyakushi 46 45th station : Shōno (Travellers surprised by sudden rain) Shōno 47 46th station : Kameyama (A castle on a snow covered slope) Kameyama 48 47th station : Seki (Departure from the inn) Seki 49 48th station : Sakashita Sakashita 50 49th station : Tsuchiyama Tsuchiyama 51 50th station : Minakuchi Minakuchi 52 51st station : Ishibe Ishibe 53 52nd station : Kusatsu Kusatsu 54 53rd station : Otsu Otsu 55 The end of the Tōkaidō: arriving at Kyoto. Sanjō Ōhashi at Keishi ("the capital")

In 1850, Utagawa Kuniyoshi created his woodblock print inspired by the Hiroshige's, called Cats Suggested As The Fifty three Stations of the Tōkaidō. Unlike Hiroshige, Kuniyoshi showed every station not with a landscape, but with "cat puns". During his time in Paris, Vincent van Gogh was an avid collector of ukiyo e, amassing with his brother a collection of several hundred prints purchased in the gallery of S. Bing. This collection included works from The Fifty Three Stations of the Tōkaidō, and Van Gogh incorporated stylistic elements from his collection into his own work, such as bright colors, natural details, and unconventional perspectives. In his personal correspondence, he stated, "all of my work is founded on Japanese art", and described the Impressionists as "the Japanese of France". Architect Frank Lloyd Wright was an enthusiastic collector of Hiroshige's prints, including those of The Fifty Three Stations of the Tōkaidō. In 1906, he staged the first ever retrospective of Hiroshige's work at the Art Institute of Chicago, describing them in the exhibition catalog as some of "the most valuable contributions ever made to the art of the world". Two years later, he contributed elements of his collection to another exhibition of ukiyo e at the Art Institute. Wright also designed the gallery space of the exhibit, which at that time was the largest display of its kind in history. Hiroshige's Tokaidō prints have since been referenced in popular culture. Weezer's 1996 album Pinkerton, for example, uses Kanbara as its cover art. In 2012, British contemporary artist Carl Randall created paintings of the people and places along the contemporary Tokaido Highway, walking in the footsteps of the Japanese ukiyo e printmaker Andō Hiroshige. The project resulted in a group of 15 paintings exhibited at the National Portrait Gallery in London as part of The 2013 BP Portrait Award exhibition, under the title "In the Footsteps of Hiroshige The Tokaido Highway and Portraits of Modern Japan". The exhibition subsequently toured to The Aberdeen Art Gallery Scotland, and then formed his solo exhibition in Japan ‘Portraits from Edo to the Present’ at The Shizuoka City Tokaido Hiroshige Museum, where the paintings were exhibited alongside Hiroshige's original The Fifty three Stations of the Tōkaidō woodblock prints.