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Kameyama, section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations...", 1852. Creator: Ando Hiroshige. Kameyama, section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations...", 1852

Kameyama, section of sheet no. 12 from the series 'Cutouts of the Fifty-three Stations...', 1852. Creator: Ando Hiroshige. Kameyama, section of sheet no. 12 from the series 'Cutouts of the Fifty-three Stations...', 1852


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Kameyama, section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations...", 1852. Creator: Ando Hiroshige. Kameyama, section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations...", 1852

Kameyama, section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations (Gojusan tsugi harimaze)", 1852

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Aquatic Life Cutouts Of The Fifty Three Stations Details Fish Fishes Harimaze Kameyama Kameyama Mie Kinki Japan Part Of Sealife Section Shukuba Tail


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> Arts > Artists > U > Hiroshige Utagawa

> Arts > Realistic drawings > Still life artwork > Portrait artwork

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EDITORS COMMENTS
Ando Hiroshige's Kameyama, section of sheet no. 12 from the series "Cutouts of the Fifty-three Stations..." (Gojusan tsugi harimaze), created in 1852, is a stunning example of the Japanese artist's mastery of the ukiyo-e printmaking technique. This black and white woodblock print showcases a close-up view of Kameyama, a station located in the Mie Prefecture of Japan during the Edo period. The image is taken from the "Harimaze" or "Sea of Froth" series, which features intricate details of various stations along the Tokaido Road. In this print, Hiroshige expertly captures the essence of Kameyama, focusing on the serene scene of a man fishing by the water's edge. The calm, shallow waters are teeming with an array of aquatic life, including several fish with their distinctive tails visible above the surface. The artist's meticulous attention to detail is evident in the calligraphic brushwork used to depict the ripples in the water and the delicate lines of the fisherman's clothing. The print bears the seal of Hiroshige's artistic school, "Ichiryusai," and is signed with his personal seal, "Hiroshige." The intricate design and masterful execution make this a valuable addition to any collection of Asian art or art history. This section of sheet no. 12 from the "Cutouts of the Fifty-three Stations..." series is a testament to Hiroshige's artistic vision and the rich cultural heritage of Japan during the 19th century.

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