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Loan Object
Artist: Utagawa Toyohiro, Japanese, 1773–1828

Three Views of Japan (Nihon sankei), with Miyajima in Aki (Aki no Miyajima), Bridge to Heaven (Tango Hashidate) (commonly Ama no Hashidate), and Pine Islands in Ōshū (Ōshū Matsushima)

ca. 1820

Surimono, shikishi-ban; polychrome woodblock print with brass, gold, and silver pigment and light gauffrage

sheet: 21.1 × 18.5 cm (8 5/16 × 7 5/16 in.)
Promised gift of Virginia Shawan Drosten and Patrick Kenadjian, B.A. 1970
ILE2017.30.150

歌川豊廣 「日本三景: 安芸宮島 丹後橋立  奥州松島」 江戸時代

This print by the relatively unknown artist Utagawa Toyohiro—teacher of the famous Utagawa Hiroshige—features three landscapes, rarely found in the surimono genre. Inside three different fan shapes, Toyohiro has skillfully arranged the renowned Three Views of Japan, the most scenic sites in the country. Each image portrays Japan as a beautiful island country graced by misty clouds. The top image, for instance, shows the Itsukushima Shrine, which reaches out into the Seto Inland Sea, near Hiroshima. The shrine is constructed on posts painted vermilion red. In front of the shrine stands a large stone lantern and, further out, a famous torii gate, all of which is visible in the image. When a flood tide rises close to its wooden floor, the shrine assumes the look of a phoenix spreading its wings and flying over the water.

Geography: 
Japan
Status: 
On view
Culture: 
Japanese
Period: 
Edo period (1615–1868)
Classification: 
Works on Paper - Prints
Provenance: 

Joan B. Mirviss (dealer), New York; sold to Virginia Shawan Drosten and Patrick Kenadjian, Koenigstein im Taunus, Germany, 2009 (on loan to the Yale University Art Gallery, New Haven, Conn., 2017–present)

Bibliography: 

Sadako Ohki and Adam Haliburton, The Private World of Surimono: Japanese Prints from the Virginia Shawan Drosten and Patrick Kenadjian Collection (New Haven, Conn.: Yale University Art Gallery, 2020), 204–6, no. 56, ill.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.