東海道五十三次之内 庄野 白雨|Shower at Shōno

Utagawa Hiroshige, 1834

MEDIUMWoodblock print; ink and color on paper
DIMENSIONS8 7/8 x 13 5/8 in. (22.5 x 34.6 cm)
LOCATIONThe Metropolitan Museum of Art

Experience the drama of a sudden storm in Hiroshige's 'Shower at Shōno,' a masterful woodblock print capturing the raw power of nature and the resilience of travelers on Japan's historic Tōkaidō Road.

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ABOUT THIS WORK

Utagawa Hiroshige's 'Shower at Shōno' is a captivating woodblock print from his renowned series, *The Fifty-three Stations of the Tōkaidō*. Created around 1834, this work exemplifies Hiroshige's mastery of landscape, a subject he embraced with a more poetic and ambient approach than his contemporary Hokusai. Unlike the typical ukiyo-e focus on urban pleasure scenes, Hiroshige specialized in capturing the natural world and the human experience within it, often employing subtle color gradations (bokashi) and multiple impressions to achieve rich effects. Here, we see travelers hurrying up a steep, winding path, caught in a sudden downpour. The dramatic diagonal lines of the rain, the bending bamboo, and the figures' struggle against the elements create a dynamic and immersive scene. This print is a testament to Hiroshige's ability to convey atmosphere and emotion through his innovative use of composition and color, making it one of the most celebrated works in the series and a prime example of Japonism's influence on Western art.

ART MOVEMENTS
Ukiyo-e
LOOK CLOSER

What to Notice

1

The diagonal lines of the driving rain

2

Travelers hurrying up the winding path

3

Bamboo bending under the storm's force

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Audio Deep Dive

Experience the drama of a sudden storm in Hiroshige's 'Shower at Shōno,' a masterful woodblock print capturing the raw power of nature and the resilience of tr…

Hear the full story in the app
THE ARTIST
Utagawa Hiroshige 1797–1858 · Japan

Utagawa Hiroshige, the last great master of ukiyo-e, transformed landscape printmaking with his poetic scenes of Edo Japan and vibrant use of color gradation.

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