The Wonders of Urban and Religious Prints: A Cheeky Commentary
Ilaria Andreoli, Scientific Coordinator at the Department of Studies and Research, INHA
The fascinating prints on display are categorized into three distinct groups: those depicting sacred religious sites, urban scenes that capture the vibrancy of city life, and serene bucolic or maritime vistas. Among these categories, religious sites stand out as the most prevalent, reflecting the deep-rooted significance of pilgrimages and local festivities in the cultural landscape. Interestingly, many of these prints, while ostensibly centered on religious themes, often serve as a vehicle to portray picturesque gardens or idyllic locations during particular seasons, thereby transforming their cultural essence. The images resonate with strong seasonal motifs, highlighting the beauty of flowers in bloom (fig. 5), the tranquility of snow-covered landscapes (fig. 6), and the dynamic character of storms and rainfall. Moreover, the presence of nocturnal landscapes (fig. 7) adds intriguing layers of depth to this visual narrative.
Ōsaka’s striking aquatic features are prominently showcased in these artworks, an attribute that earned the city the illustrious title of “Venice of Japan” by early Western explorers who first ventured into its embrace following its official opening to foreign visitors in 1868. Notably, over half of the prints depict iconic bridges (fig. 8 and 9), canals, rivers, and tranquil ponds, immersing viewers in the city’s unique waterways. The strategic representation of these aquatic elements either in the foreground or middle ground not only enhances the overall composition but also contributes to a spatial richness. Additionally, some prints possess an intriguing advertising quality, showcasing businesses or entertainment venues that commissioned artworks to promote their offerings. While the majority of this collection is dedicated to historical landmarks—referred to as “places of memory”—and commercial hotspots, it also features prints that document significant recent developments and newly constructed edifices. Others subtly illustrate the mounting tensions present on the eve of the Meiji era, revealing the existence of structures that had recently vanished or were on the brink of disappearing.
The series presents the works of three talented artists: the seasoned Kunikazu, along with the younger Yoshitaki and Yoshiyuki, who were still in their twenties. Together, they produced a remarkable thirty-one, forty, and twenty-nine engravings from this collection, respectively. In the initial segment, they shared the fifty prints evenly, consecutively distributing the plates (specifically plates 1-17, 18-33, and 34-50). However, in the subsequent part (fig. 10), the individual contributions no longer align in a continuous sequence, indicating a more fragmented publication process for the latter fifty engravings. This series was published by Ishikawaya Wasuke, who emerged as a new player in the bustling publishing environment of Ōsaka, which boasted around forty or fifty book publishers or engravers. Familiarly known as Ishiwa, he was among the pioneers in producing authentic tourist maps of the city, which effectively guided travelers and pilgrims to effortlessly locate religious landmarks and natural wonders, as well as vibrant markets and local delicacies. Remarkably, these maps even highlighted souvenir shops and suggested color-coded routes through the city, reflecting the burgeoning phenomenon of urban tourism in Ōsaka during the mid-19th century, particularly alongside the release of One Hundred Views of Naniwa, likely originally marketed as individual souvenirs targeting visitors to key sites.
Although a specific publication date remains elusive, two pivotal details allow for an educated hypothesis regarding the timing: the meticulous calligraphic styles of Kunikazu and Yoshitaki’s signatures, coupled with the subject matter and iconographic references employed in certain engravings. The series is, in essence, a derivative work rather than a purely original creation; it reflects the prevalent artistic practices of the Edo period, drawing from a rich tapestry of influences and inspirations sourced from various graphic prints, particularly regional monographs and travel guides prevalent at the time of its publication. Key attributes, such as the title’s shape, the relatively rare vertical format, the overarching composition, the thematic diversity, and the nuanced portrayal of seasonal changes, evoke comparisons to Hiroshige’s celebrated series, One Hundred Views of Famous Edo Sites, published between 1856 and 1859, firmly placing this new series in a later context. It is surmised that the publication likely occurred around 1863-1864, contemporaneously with another series focusing on Kyoto, namely the One Hundred Views of Famous Sites in the Capital (Miyako meisho hyakkei), also distributed by the same publisher shortly before the onset of the Meiji era (1868-1912).
An examination of various copies within the series reveals intriguing discrepancies in color tones, indicating that each edition—typically consisting of around a hundred copies—holds its unique identity. While it’s evident that the series underwent multiple printings, only ten complete copies of One Hundred Views of Naniwa have been cataloged within museum and library collections globally, rendering it a particularly rare treasure. The edition housed at the INHA contains the first fifty engravings from the initial printing, remaining true to the original colors and intricate printing techniques, such as the delicate gradations. The subsequent fifty engravings, while exhibiting remarkable printing quality, display some variations compared to the high edition.
Distinctively, the copy preserved at the Art and Archaeology library has been beautifully crafted into an accordion-style album, allowing for a paired contemplation of the engravings. This format enhances the visual experience, particularly evident in the panoramic scene viewed from the Tenma-bashi bridge (plates 53 and 54, fig. 11), creating a delightful sense of visual continuity. This accordion arrangement is not an isolated occurrence, with at least six additional copies of the series, maintained in various libraries and museums worldwide, including the National Library of France, also presenting this creative format. Furthermore, the inclusion of a printed summary, comprised of two plates, strongly suggests that these engravings were originally sold as a cohesive series, later compiled into an album format to enhance preservation.
This remarkable collection will be highlighted in a special presentation scheduled for November 7, as part of the INHA “State of the Art” meeting cycle.
Ilaria Andreoli, scientific coordinator at the Department of Studies and Research, INHA
4 types of printmaking
T multiple printings over the years, each print carries variations that reflect the artistry and craftsmanship of its time. These differences speak to the hands-on nature of printmaking, where even slight changes in ink application, paper quality, or the block carving process can yield distinct outcomes. This uniqueness adds a layer of charm to each piece, making them not just reproductions but valuable pieces of art with their own history and narrative.
What truly heightens the allure of these prints is their accordion-style albums, which allow viewers to engage with the art in an interactive way. Each landscape unfolds like a storybook, revealing the charm of Osaka and its surroundings in a method that feels both intimate and expansive. As you flip through the pages, the anticipation builds, akin to a theatrical reveal where each image promises another glimpse into the vibrancy of this iconic city.
Collectively, these prints are not mere historical artifacts; they are a testament to the cultural and social shifts occurring in Japan as it transitioned into the modern era. They reflect a time when urban exploration and tourism began to take root, celebrating both the sacred and the mundane in vibrant strokes. This duality invites audiences to appreciate the shared visual language of religion and commerce, nature and modernity.
As we stand on the cusp of a renewed appreciation for cultural heritage, events like the upcoming INHA meeting on November 7 offer a chance to delve deeper into these cherished pieces of art. Whether you’re an artist, a historian, or simply an aficionado of fine prints, this journey through the world of Osaka’s engravings promises to enlighten and inspire. So mark your calendars and prepare to engage with art that is as much about the past as it is about the paths we continue to trek in our modern lives.
Ah, prints! Those delightful snapshots of bygone days, captured in ink, like a time capsule from the land of sushi and sumo. This article serves up a feast for the eyes, with tantalizing tidbits about the artistic representation of Osaka—where even the rivers are said to carry the whispers of tourists who forgot to ask for directions in a language they don’t speak!
According to the article, our first stop is the religious sector. Apparently, sacred sites are like the Kardashians of prints—everyone wants a glimpse! But hold your horses; those holy havens often come with a side of florals and seasonal shenanigans. It’s like a religious festival dressed up for a garden party—flowers, snow, and storms where the symbolism is as fortified as a communion wine. Who needs cultural depth when you can just market a pretty view, eh?
Now, let’s glide through the canals of Osaka in this narrative moment, because a city dubbed the “Venice of Japan” has got to have more than just gondola envy! In fact, it seems over 50% of the prints pan out over stunning waterways, leading you to wonder if the real tourist attraction is the water itself. I mean, at this point, I’m half expecting a print of a particularly romantic puddle—don’t let that go viral!
Next, the ever-cunning merchants of Osaka realized that the best way to hawk their wares was to hire artists to create prints! Bravo! Advertisements done well, showing off businesses like it’s a bustling Pinterest board. Honestly, if someone doesn’t show me a print of a sushi shop, I’ll be thoroughly disappointed!
Our triumvirate of artists—Kunikazu, Yoshitaki, and Yoshiyuki—was responsible for this visual delight. But you know what they say, if you want to get the job done, hire young people. The reason? They’ve not yet been defeated by the crushing weight of adult responsibilities! So, you’ve got forty, thirty-one, and twenty-nine engravings, where each artist brought their own delightful flavor to this buffet of aesthetics. A three-way competition for the oh-so-important artistic credits—now that sounds like the start of a sitcom!
But, dear reader, we aren’t just ogling these prints for artistic merit! No, no! We’re told they serve an impressive cultural role, coming out of a vibrant publishing scene. Just when you think you’ve seen all the ramen shops, Ishiwa, our diligent publisher, swoops in with colorful maps that guide you to religious buildings, shops, and even those “must-haves” for your relatives’ souvenir collection. The rise of urban tourism? That’s not merely a fad! It’s like the fast fashion of exploration—quick, affordable, and sometimes regrettable!
Let’s not forget the final pièce de résistance—the rarity of these prints! Only ten complete copies of One Hundred Views of Naniwa exist today, making them as exclusive as a high-end sushi restaurant’s seating on a weekend night. I mean, who doesn’t want a print that could double up as a conversation starter at your next cocktail party?
And what’s the cherry on top? The way these engravings were presented in accordion-style albums. I can picture it: a delightful view of landscapes appearing two by two like they’re participating in some awkward icebreaker! So, if you’re reminiscing about your fancy art scene visit or just looking for a tour through the decent parts of Osaka, keep November 7 marked on your calendar for the INHA meeting. It’s about as essential as knowing where to find the nearest ramen shop after a night out.
So there you have it. A cheeky, observant romp through prints that blend the sacred with the aesthetic, the ancient with newfound tourism. Grab a print or two, and remember—art may not change the world, but it definitely makes for a glorious mess of a conversation topic!