For the first time in an English language edition published outside Japan, all 55 prints of Hiroshige’s ‘Fifty-three Stages of the Tokaido’ are reproduced in full colour, supporting a detailed and intriguing account of the author's rediscovery on foot of the historic 303-mile road from Edo (Tokyo) to Kyoto. Remarkably, the Old Tokaido can still be found in many locations and photographs of the modern parallel the old.

For the first time in an English language edition published outside Japan, all 55 prints of Hiroshige's 'Fifty-three Stages of the Tokaido' are reproduced in full colour. Remarkably, the Old Tokaido can still be found in many locations and photographs of the modern parallel the old.

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 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 ́s 53 Stations of the Tokaido 1805 - 1806 is something completely different! It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long life ́s work. It is different from much of Hokusai ́s other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai does not focus on the landscape and the markers that Hiroshige and others showed. Instead Hokusai focus on the events, the interactions between the travellers, the tales that you will share with your friends when you get back home. It was a great and earlier contribution to the Tokaido literature

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.

The Scenic Places of the Tokaido (Tokaido Meisho no Uchi) by 17 artists is based on the list of prints on the Kunisada Project website run by Dr Horst Graebner with a total of 162 ukiyo-e prints. It is a fantastic work, an effort presumably directed by the shogun ́s political office to commemorate his attempt to preserve a joint rulership with the emperor over Japan. It differs from the many other Tokaido series by the large number of prints, at least three times as many in a series. If differs by the number of people in the prints - the procession consisted of 3,000 people. It also marks the end of the ukiyo-e Tokaido, where the forced travel of the daimyo - sankin-kotai - had contributed so much to the economic and cultural development along these roads and indeed to the whole print making industry. The shogun abolished sankin-kotai in 1862.