- Museum number
Object: No 17 Yui, Satta-mine 由井薩埵嶺 (Yui: Satta Peak)
Series: Tokaido gojusan-tsugi no uchi 東海道五拾三次之内 (Fifty-Three Stations of the Tokaido Highway)
Colour woodblock oban print. Three tiny figures at vantage point high on pass: woodcutter trudging with large load; other two travellers gazing and gesticulating towards white Mt Fuji on horizon across Suruga Bay; ships in Bay and trees on cliff. 1 of 2 impressions. Inscribed, signed and sealed.
- Production date
Height: 24.10 centimetres
Width: 36.80 centimetres
- Curator's comments
- Clark 2001
A pass was cut high up the steep mountainside at Satta on the orders of the Shogunate in 1655, so that a Korean embassy procession of that year would not have to wait for low tide, as was the case with the coast road used before the pass was constructed. The tilt of one of the leaning pines, that seems to bow towards Fuji, suggests how windswept this place must have been and if we follow the line of this tree we notice three tiny figures at a vantage point high on the pass. A woodcutter trudges with a large load, oblivious to the spectacular view, but the other two travellers gaze and gesticulate towards Mt Fuji, perfectly symmetrical and elegantly white on the horizon across Suruga Bay. Hiroshige depicted Satta again from nearby vantage points in several of his later, upright prints (cats 79 and 86).
Forrer 1997, no. 22 discusses various printings. The main differences observed in early impressions are that the deep gradated blue of the bay rises from the bottom, rather than coming down from the horizon as here. Also missing in the British Museum impression is a black block that in early impressions adds extra gradation over the dark grey in the outcrop of rock in the middle of the foreground, and also on the cliff-face, where the black actually obscures the trunks of the trees in the top left corner. In the British Museum impression the mid-grey block of the smooth rock-face around the signature in the bottom left has begun to warp, revealing a sliver of red-brown on the right edge of that rock-face, where the grey no longer covers the red-brown properly. This gap becomes even more pronounced in the latest impressions, in which the top of the sky is printed yellow and the cliff-face is almost black (MSU. vol. 11, 1991, no. 17).
'Ukiyo-e taikei, vol. 14: Tokaido gojusan-tsugi no uchi'. Tokyo, Shueisha, 1975, no. 17.
'Meihin soroimono ukiyo-e'. vol. 11, Tokyo, Gyosei, 1991, no. 17.
White, Julia, et al. 'Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection, Honolulu Academy of Arts'. San Francisco, Asian Art Museum of San Francisco, 1998, no. 122.
Binyon, Laurence. 'A Catalogue of Japanese and Chinese Woodcuts in the British Museum'. London, British Museum, 1916, [Hiroshige] no. 37.
- Not on display
- Exhibition history
2001, 11 May-29 Jul, BM Japanese Galleries, '100 Views of Mount Fuji'
- Acquisition date
- Registration number