- Museum number
Object: Sunshu Ejiri 駿州江尻 (Ejiri in Suruga Province)
Series: Fugaku sanjurokkei 冨嶽三十六景 (Thirty-six Views of Mt. Fuji)
Colour woodblock oban print. Figures and trees on path through marsh, battling wind in foreground: Stream of paper tissues, trevalling-hat and leaves blown off in sky by wind; Mt Fuji in background. 1 of 2 impressions. Inscribed, signed and sealed.
- Production date
- 1831 (probably early 1831 (Keyes and Morse 2015))
Height: 25.70 centimetres (image)
Width: 38.10 centimetres (image)
- Curator's comments
Ejiri was a post-station on the Tokaido Highway on the west side of Suruga Bay, near modern Shimizu City. This was close to the famous beauty spot of Miho no Matsubara, depicted in many of the works in this catalogue. However, the view devised by Hokusai here depicts a much more prosaic location, a path that snakes through a marsh, the area of un-printed paper on the right side behind the roadside shrine sometimes identified as a stretch of water known as 'Old Woman Pool' (Uba-ga-ike). The silhouette of Mt Fuji is drawn with a single line, taking a backstage role in deference to the figures and trees battling the wind in the foreground. Bending their bodies and clutching at scarves and hats, all turn their faces away from us - as if we were the source of the blast that carries off a stream of paper tissues that had been tucked into the breast of the kimono worn by the woman with the head-scarf. Following the tissues skywards as they flit and fold, they seem to chase an escaped hat and dancing leaves. The porter who has lost his hat gesticulates in surprise, a circle of padding left forlorn on his head.
Forrer 1991, no. 21 describes a printing that is almost entirely in blue. Otherwise the main variations seem to be: the intensity of the blue and green in the marsh and the brown in the sky; the presence or absence of the red seals, bottom right. The British Museum impression has an unusual gradation into orange on the woman's head-scarf. The black lines of the folds of this head-scarf have matching lines in white reserve in the impressions in the Ota Memorial Museum of Art, Tokyo (MSU 1991, no. 35) and Musée Guimet, Paris (Forrer 1991, no. 21), which may be particularly early.
'Ukiyo-e taikei, vol. 13: Fugaku sanju-rokkei', Tokyo, Shueisha, 1975 (text by Kobayashi Tadashi), no. 18.
'Meihin soroimono ukiyo-e, vol. 8: Hokusai I', Tokyo, Gyosei, 1991 (text by Nagata Seiji), no. 35.
Julia White, 'et al.', 'Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection, Honolulu Academy of Arts', Asian Art Museum of San Francisco, 1998 (commentaries by Yoko Woodson), no. 23.
Binyon, Laurence. 'A Catalogue of Japanese and Chinese Woodcuts in the British Museum'. London, British Museum, 1916, [Hokusai] no. 99.
Smith, Lawrence. 'Twelve Views of Mount Fuji'. London, Trustees of the British Museum, 1981, [no. 9].
Ejiri was a post-station on the Tōkaidō highway on the west side of Suruga bay, modern Shimizu ward in Shizuoka city. The desolate area shown here is thought to be around Uba-ga-ike (‘Old Woman Pool’), with the road snaking through the marsh on raised dykes. Fuji is drawn in silhouette, with a single line. Hokusai’s brilliant conception shows the effects of a strong wind, stripping leaves from the bending trees and sending a stream of tissues and a lost travelling hat flying up into the sky.
- Not on display
- Exhibition history
2001, 11 May-29 Jul, BM Japanese Galleries, '100 Views of Mount Fuji'
2012 Mar - Jun, USA, Washintgton, Smithsonian Institute, 'Hokusai: Thirty-Six views of Mount Fuji'
2017 25 May - 13 Aug, London, BM, G35, Hokusai: Beyond the Great Wave
2017 6 Oct - 19 Nov, Osaka, Abeno Harukas Art Museum
- Acquisition date
- Registration number