Japanese Satsuma Bowl Featuring Scenes From The Fifty-three Stations of the Tōkaidō
October 24th 2022
As the nights start to draw in, approaching the winter season, I have found myself researching pieces that I have recently acquired alongside a good cuppa and the warmth of modern-day central heating. Whilst looking at some new Japanese acquisitions, I came across an in-depth view of The Fifty-Three Stations of the Tōkiadō, and it got me thinking about a piece currently in our Japanese collection. Originally I bought the piece recognising its quality and interesting shape along with it being signed by Suizan a good recognised name in the Satsuma field. However, upon further inspection, it transpired that it featured scenes from the famous Fifty-three Stations of the Tōkaidō originally by Utagawa Hiroshige (1797-1858). With that in mind, I was sent down a virtual rabbit hole of Japanese history that I thought would be interesting to share with you all. Grab yourself a cuppa and take a pew because it’s a fair bit to take in!
Who was Utagawa Hiroshige?
Utagawa Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo, now known as Tokyo. He was originally born Andō Tokutarō and came from a Samurai background with a strong bloodline from his great-grandfather, who held a position of power under the Tsugaru clan in the northern province of Mutsu.
Hiroshige suffered great pain during his early years, with one of his sisters dying at an early age and both his mother and father passing away before he reached his teens. He was bestowed with his father’s fire prevention duties at Edo (Tokyo) Castle just before his death. This duty left Hiroshige with a lot of leisure time, and not long after his parents passed, he began painting.
As Hiroshige’s painting passion grew, he sought direction and approached Masters of the work to further his ability. He was introduced to Toyohiro of the Utagawa school (one of the main schools of ukiyo-e, founded by Utagawa Toyoharu), who progressed his talent and by 1812, Hiroshige was permitted to sign his works under the name Hiroshige. Hiroshige’s apprentice work included book illustrations, single-sheet ukiyo-e prints of Bijin (female beauties) and Kabuki actors (a classical form of Japanese dance-drama). Occasionally, Hiroshige signed these pieces Ichiyūsai and from 1832, Ichiryūsai. He passed his fire warden position onto his son in 1823 and later declined an offer to succeed his master Toyohiro at the Utagawa school upon his death in 1828.
It was not until 1829-1830 that Hiroshige began to produce the landscapes he would later become famous for. He created a number of wildlife and flower prints around this time, as well as the well-known series The Ten Views of Famous Places in the Eastern Capital, which can be viewed here. In 1832, Hiroshige was invited to join an official procession in Kyoto, allowing him to travel along the Tōkaidō route that linked the two capitals, Kyoto and Edo (Tokyo). Along the way, Hiroshige managed to sketch an entire series named The Fifty-three Stations of the Tōkaidō, which contains some of his most famous pieces of his career.
After the success of this series, Hiroshige continued with his progression, following it with further series such as the Illustrated Places of Naniwa (modern Osaka) in 1834, Famous Places of Kyoto in 1835 and another Eight Views of Ōmi in 1834.
Interestingly, Hiroshige never ventured west of Kyoto and based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures that he found in books and other paintings.
Hiroshige amassed over 8000 works throughout his lifetime and trained students known as Shigenobu (Hiroshige II) and Shigemasa (Hiroshige III), amongst others. Some of his works include The Fifty-three Stations of the Tōkaidō (1833-1834), The Sixty-nine Stations of the Kisokaidō (1834-1842) and Thirty-six Views of Mount Fuji (1852-1858). Not only was Hiroshige an important figurehead of Japanese art during the time, he was also very influential over many artists worldwide, such as Monet & Vincent Van Gogh. Two copies of Hiroshige can be seen by Van Gogh from the series of the One Hundred Famous Views of Edo.
Memorial portrait of Hiroshige by Kunisada
Sudden Shower Over Shin-Ohashi Bridge and Atake, Hiroshige, 1857
One of the One Hundred Famous Views of Edo
Bridge in the rain (after Hiroshige), Vincent van Gogh from Japonaiserie, oil on canvas, 1887
The Plum Garden in Kameido (1857), from Hiroshige’s One Hundred Famous Views of Edo
Flowering Plum Tree (after Hiroshige 1887) by Vincent van Gogh, from his Japonaiserie, in the collection of the Van Gogh Museum in Amsterdam.
In 1856 Hiroshige retired and became a Buddhist monk, during this same period he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 and was buried in a Zen Buddhist temple in Asakusa.
Sadly throughout his entire career Hiroshige was not wealthy, the high demand for his art was only pursued due to the low value amounting to an income of about twice the wages of a day labourer. It was not until more recent years that the preservation of his most valued works hit a high value in the market, both in historical importance and culture.
What is the object in question?
The bowl itself dates to the Meiji period (1868-1912) and is of a typical satsuma palette. It is what’s known as scallop-shaped, which features a light ribbed effect to the outside leading up to the top rim. The outside is decorated with Ranchu goldfish, which appear to swim around the perimeter with flowers and simulated water bubbles throughout. The rim is decorated with a red base layer and gilt spherical designs tracing the pattern of the rim. The inside is decorated with a net spanning the whole bowl, capturing multiple fluttering butterflies. To the centre, a flurry of blossoming flowers surrounds the central images featuring scenes from the Fifty-three stations of Tōkaidō. The base signed to the centre with a gold stylised cartouche for Suizan.
A view looking into the bowl featuring scenes from the Fifty-three stations of Tōkaidō.
A view of the side of the bowl featuring multiple Ranchu goldfish.
The base of the bowl featuring the stylised cartouche of Suizan.
What are these scenes?
When peering into the centre of the bowl it is easy to recognise the multiple images that have been painted, upon first glance they appear to be nice quality landscapes and portraits of various figures in a host of different locations. It was only upon glancing at the snow scene that I suddenly recognised what I actually had bought. I scrambled quickly to my computer to search Hiroshige’s block prints, and to my delight, I confirmed that they belong to the Fifty-three Stations of Tōkaidō collection. To display it much more easily and with the might of modern technology, I have attached both the single scene painted by Suizan and the original by Hiroshige below for direct comparison.
1st station Shinagawa
2nd station Kawasaki
3rd station Kanagawa
4th station Hodogaya
6th station Fujisawa
12th station Numazu
15th station Kanbara (A village in the snow)
18th station Ejiri
I have to admit it is somewhat beautiful to see the work replicated into such an intricate bowl, and it’s a piece that I have great admiration for. Not only does it feature the typical satsuma form with a beige base and intricate flowers, but it also has a fantastic representation of the highly regarded Utagawa Hiroshige; one can only assume that this was done in his honour and as a tribute to the great man himself, a true part of Japanese history.
For further information and a comprehensive illustrated catalogue of Utagawa Hiroshige’s work, please see www.hiroshige.org.uk
For a similar piece featuring further panels of Tokaido gojusan tsugi (the Fifty-three Stations of the Tōkaidō) by Kinkozan please see Bonhams Fine Japanese and Korean Art Auction 12th September 2018 Lot 1228 A Fine Satsuma Deep Bowl.
For the bowl offered for sale by Jacksons Antique, please see Japanese Meiji Period Satsuma Bowl | Suizan.
Owner at Jacksons Antique
I am an antique dealer and owner of Jacksons Antique, specialising in fine antiques with a particular focus on Japanese art and European decorative objects. With over a decade of experience in the antiques trade, I source and curate pieces for collectors across the UK, the United States, and the international market.
Working primarily online alongside select exhibitions, I am part of a newer generation of dealers helping to modernise the way antiques are researched, presented, and acquired. My approach is built on careful attribution, transparent descriptions, and historically grounded research so clients can buy with confidence.
Through Jacksons Antique, I aim to make important historic objects accessible to both established collectors and those developing their collections.
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