Hokusai ́s 53 Stations of the Tokaido 1802 is something completely different from his first square series 1801. Hokusai here employs the horizontal "landscape" format and abt the double size of his square 1801 series. In this series Hokusai focus on wonderful folkloric scenes of ordinary people going about their work, in addition to the travel scenes. Hokusai also begins to develop the landscapes that were to become a standard for later generations of Tokaido series. Hokusai develops the concept of the Tokaido print from cartoon to folklore and the beginning of landscape. He builds on a b/w guide, Tokaido meisho zue from 1797, ISBN 9781956773316. It was a great and early contribution to the growing Tokaido literature, which Hokusai dominated for some 30 years.

Hokusai ́s 53 Stations of the Tokaido 1804 Vertical is something completely different from his 1801 and 1802 series and from the 1804 horizontal. It is different from his famous 36 Views of Mt Fuji 1832, which are sublime artistic expressions distilling a long life ́s work. This series shows his development of the themes based on the two first series, 1801 and 1802, and a transition to his 1804 horizontal series, which again is a precursor to his sublime 36 Views of Mt Fuji. As the reader progresses through Hokusai ́s Tokaido series it will become evident how Hokusai develops the concept, develops the format, the themes and then mixes them with true genius. This series is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus only on the landscape and the markers that Hiroshige and others showed.

The Aritaya Fifty Three Stations of the Tokaido Road is one of the most beautiful of Hiroshiges huge production of landscape print series in spite of its small size. It is only abt 10 x 15 cm (with variations), Yotsugiri yokoban (quarter oban). It is also unusual in that it is a veritable full course and manual in landscape print design. It is a very rewarding study. All the way through Hiroshige follows certain design principles of proportion of elements, arranging elements and views by diagonals and parallels and balancing of color elements. Compared to most of his other Tokaido series Hiroshige in Aritaya focus on letting the landscape tell the story instead of letting people or legend do that, although this is not followed through completely.

Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a Famous to the title. All 104 prints in the series are included here. This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki. Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856-1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections.

Keisai Eisen (1790 -1848) is especially known for his bijin-ga, pretty women, and landscapes. He is well known for his participation in the series 69 stations of the Nakasendo together with Hiroshige. The series A Tokaido Board Game of Courtesans, Fifty-three Pairings in the Yoshiwara use the Tokaido with landscape inserts as an excuse for showing courtesans and geisha, bijin-ga, to skirt the censorship. It was published 1821-1823. His bijin-ga are considered to be masterpieces of the "decadent" Bunsei Era (1818-1830). Most of them have impressive hairdo with many ornamental hairpins and combs. Their dress is extravagant with beautiful patterns and sublime embroideries. Their faces are elongated squares with long noses and small pouted painted mouths. Courtesans were desirable for their rich and splendid attire, not so much for their beauty and their names were actually like trademarks for a series of girls performing the same name role with the brothel in question.

Hokusai ́s 53 Stations of the Tokaido 1804 horizontal is something completely different from his first square edition 1801 and second edition 1802. Hokusai completely changes his style compared to the three previous series, 1801, 1802 and 1804 vertical. These designs are "clean" and a precursor for his famous 36 Views of Mt Fuji some 30 years later. In this series Hokusai focus on wonderful folkloric scenes of ordinary people going about their work, in addition to the travel scenes. Hokusai further develop the themes, touristic curiosities and landscapes that were to become a standard for later generations of Tokaido series. It was a great and beloved contribution to the Tokaido literature, which Hokusai dominated for some 30 years and this series is also much loved in the West.

Hokusai ́53 Stations of the Tokaido 1802 is something completely different from his first square series 1801. Hokusai here employs the horizontal "landscape" format and abt the double size of his square 1801 series. In this series Hokusai focus on wonderful folkloric scenes of ordinary people going about their work, in addition to the travel scenes. Hokusai also begins to develop the landscapes that were to become a standard for later generations of Tokaido series. Hokusai develops the concept of the Tokaido print from cartoon to folklore and the beginning of landscape. He builds on a b/w guide, Tokaido meisho zue from 1797, ISBN 9781956773316. It was a great and early contribution to the growing Tokaido literature, which Hokusai dominated for some 30 years.