Collections: Asian Art: Kasumigaseki, No. 2 in One Hundred Famous Views of Edo

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: On the Delaware River

George Inness's view of the Delaware Rive (near the Kittatinny Ridge of the Appalachian Mountains) includes details like river rafts and a p...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Armchair

    George J. Hunzinger was perhaps the most progressive American furniture designer of the second half of the nineteenth century. He secured tw...

     

    Want to add this object to a set? Please join the Posse, or log in.

    close

    30.1478.2_PS1.jpg 30.1478.2.jpg

    Kasumigaseki, No. 2 in One Hundred Famous Views of Edo

    Hiroshige here depicts traditional symbols and activities of the New Year, one of Japan's most important annual festivals. To the right appears the vertical slice of a gate pine (kadomatsu), a traditional New Year's decoration, which also organizes the scene to suggest a Noh drama stage set. At the center is a somber procession of street theater performers climbing the slope known as Kasumigaseki. Two manzai artists, who perform celebratory chants and dances for samurai families, observe them. Kites fly above; one is inscribed with the name of the publisher of the series, which translates as "fishmonger."

    • Artist: Utagawa Hiroshige (Ando), Japanese, 1797-1858
    • Medium: Woodblock print
    • Place Made: Japan
    • Dates: 1st month of 1857
    • Period: Edo Period, Ansei Era
    • Dimensions: Image: 13 1/2 x 8 3/4 in. (34.3 x 22.2 cm) Sheet: 14 3/8 x 9 3/16 in. (36.5 x 23.3 cm)  (show scale)
    • Markings: No publisher's or censor's seals, probably trimmed away.
    • Signature: Hiroshige-ga
    • Collections:Asian Art
    • Museum Location: This item is not on view
    • Accession Number: 30.1478.2
    • Credit Line: Gift of Anna Ferris
    • Rights Statement: No known copyright restrictions
    • Caption: Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Kasumigaseki, No. 2 in One Hundred Famous Views of Edo, 1st month of 1857. Woodblock print, Image: 13 1/2 x 8 3/4 in. (34.3 x 22.2 cm). Brooklyn Museum, Gift of Anna Ferris, 30.1478.2
    • Image: overall, 30.1478.2_PS1.jpg. Brooklyn Museum photograph, 2006
    • Catalogue Description: Scene looks toward Yurakuchou and beyond to Tsukiji, Fukagawa and Tokyo Bay. Kasumigaseki was a checkpoint on the old Oshukaido, one of the five highways that served as the major traffic arteries of Tokugawa, Japan, which connected the capital with northern Japan as far as Oshushirakawa. This hill (near what is now the Kokkaigijidomae subway stop on the Marunouchi line) was well known for its view of the harbor and sails. A New Year's scene as shown by various festive markers and activities. Kites floating in the sky and the one at the top edge bears the character for "fish," the mark of the publisher Uoei (see also pls. 75, 80, and 106) - a discrete advertisement. To the right appears a slice of a gate pine, a traditional decoration for the New Year. Scene looks eastward over densely settled commoners' section of Edo in the morning horizon. In the center is a procession of daikagura performers, who emerged in the 17th century as presentatives of Ise shrine, performing lion dances in the streets. In Hiroshige's time, daikagura was closer to vaudeville street theatre, complete with ball-juggling and drumstick twirling. The gohei-topped pole, known as a mando is probably inscribed with the name of Amaterasu, the Sun Goddess enshrined at Ise. To the left, the daikagura procession is observed by a pair of manzai performers, dressed in priestlike robes, who are making the rounds of samurai residences where they will perform chants and dances to ensure long life for the families. To their left, a sushi-maker delivers his wares. To the right, a mother and child head down the hill, the child holding a battledore for New Year's play. To their right is a "fanbox-buyer" taking advantage of the custom of presenting fans as New Year's gifts. To either side of the street stand two of the largest great daimyo mansions of Edo. The dark two-story row on the right (the mansion of Kuroda, lord of Fukuoka) these walls were in fact barracks for the daimyo's retainers. To the left, also decorated with two short pines, is one of the guardhouses that were strategically placed throughout the samurai districts; beyond it is the mansion of Asama, lord of Hiroshima. Even today, the place conveys an air of authority: since the early Meiji period, the site to the right has been occupied by the Foreign Ministry, which was commonly referred to before World War II as "Kasumigaseki." On the left today stands the National Personnel Building. The steepness of the Kasumigaseki slope - in fact a rather modest slope - was often exaggerated by artists in order to heighten the sense of a detached picture-like panorama in the distance.
    • Record Completeness: Best (88%)
    advanced 107,063 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."




    Please review the comment guidelines before posting.

    Before you comment...

    We get a lot of comments, so before you post yours, check to see if your issue is addressed by one of the questions below. Click on a question to see our answer:

    Why are some objects not on view?

    The Museum’s permanent collections are very large and only a fraction of these can be on exhibition at any given time. Sometimes works are lent to other museums for special exhibitions; sometimes they are in the conservation laboratory for study or maintenance. Certain types of objects, such as watercolors, textiles, and photographs, are sensitive to light and begin to fade if they are exposed for too long, so their exhibition time is limited. Finally, as large as the Museum is, there is not enough room to display everything in the collections. In order to present our best works, collections are rotated periodically.

    How do I find out how much an object in the Brooklyn Museum collections is worth?

    The Museum does not disclose the monetary values of objects in its collections.

    Can you tell me the value of an artwork that I own?

    The Museum does not provide monetary appraisals. To determine the value of an object or to find an appraiser, you may contact the Art Dealers Association of America or the American Society of Appraisers.

    I own a similar object. Can you tell me more about it?

    Please submit via e-mail a photograph of the object you own and as much information about it as you can, and we will provide any additional information we are able to find. Please note that research in our files is a lengthy process, and you may not have a response for some time.

    How would I go about lending or gifting a work to the Museum or seeing if the Museum is interested in purchasing a work that I own?

    Please submit via e-mail a photograph of the object you would like us to consider, as well as all of the information you have about it, and your offer will be forwarded to the appropriate curator. The Brooklyn Museum collections are very rich, and we have many works that are not currently on exhibition; because of this, and because storage space is limited, we are very selective about adding works. However, the collection has become what it is today through the generosity of the public, and we continue to be grateful for this generosity, which can still lead to exciting new acquisitions.

    How can I get a reproduction of a work in your collection?

    Please see the Museum’s information on Image Services.

    How can I show my work to someone at the Museum or be considered for an exhibition?

    Please see the Museum’s Artist Submission Guidelines.

    Why do many objects not have photographs and/or complete descriptions?

    The Museum's collection is very large, and we are constantly in the process of adding photographs and descriptions to works that do not currently have them, or replacing photographs that have deteriorated beyond use and descriptions that are minimal or out of date. This is a long and expensive process that takes time.

    How can I find a conservator or get advice on how to treat my artwork?

    Please visit the American Institute for Conservation, which has a feature on how to find a conservator.

    I have a comment or question which is not included in this list.

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.