Oigawa okegoe no fuji
Series : One Hundred Views of Fuji, Fugaku Hyakkei.
Technique: nishikie, woodcuts in two shades of gray and one of pink.
Format: hanshinbon koban (about 183x123 mm).
Signatures : Zen Hokusai Iitsu aratame Gakyorojin Manji.
Artist's seal : Fuji no Yama.
Dates : 1834-1836.
Engravers: Egawa Tomekichi and Tsentaro.
Publishers: Nishimura Yuzo, Eirakuya Toshiro.
Beautiful proof with good contrasts, in a fourth edition published by Tohikedo in 1852 with the characteristic pink tone. Printed on Japan paper, in excellent condition, with clean edges all around beyond the marginal line.
Bibliography:
Calza GC Hokusai, the old fool for painting , Milan 1999-2000, London, 2003.
Calza GC Hokusai, the hundred views of Fuji , Milan, 1982.
Dickins FV Fugaku hiyaku-kei: one hundred view of Fuji by Hokusai , London, 1880.
Forrer M. Hokusai, prints and drawings , London, 1991.
Hillier J. The art of Hokusai in book illustration , London, 1980.
Lane R. Hokusai, life and works , Milan, 1991.
Salamon Villa T., The hundred views of Fuji, Turin, 1975.
Smith II H. Hokusai: one hundred view of Fuji by Hokusai, London, 1988.
A tub ferry on the River Oi is shown.
Practical solution, in use until the late Meiji period (early years of the 20th century) for crossing rivers.
For military reasons, the policy of the Tokugawa shoguns limited as much as possible the construction of bridges over rivers or other large works aimed at favoring internal roads. In this way, any sudden movement of large masses of troops that could converge on Edo and threaten their power was hindered.
In Edo " were not allowed in or women out" . Thus, another security measure was popularly synthesized, the one which obliged the daimyo , feudal lords, to leave their wives and daughters in the city as hostages when they had to go to their estates.