Tokaido michiyuki no zu (Itinerary map of the Tōkaidō Highway) doi: http://dx.doi.org/10.14288/1.0167749
“Mandala maps show the routes as curved lines and include scenes of the road as if they were viewed from a distant high viewpoint. Mandalas prioritize the temporal and symbolic dimension of space, being thus clearly ‘meta-traveling’ artifacts. They often impose elements of geometrical order on the flowering landscape (Lee et al. 1983:144) and bring together distant landmarks through the use of the cloud-pattern, the technique of reversed perspective or of variable viewpoints. Their curved schemes may also reflect the Chinese doctrine of attributing malign influences to straight lines (Yee 1987:154). Tōkaidō michiyuki no zu (Itinerary map of the Tōkaidō road) (Figure 3), the oldest surviving printed road-map of the Tōkaidō, is a mandala thought to have been published in 1654 (Unno 1987:422). Although accuracy is not its main concern, practical information such as distances between post-stations and lists of fares for travelers using horses is provided. Late Edo period panoramas such as Katsushika Hokusai’s (1760–1849) (Plate 4) and Kuwagata Shōi (?–1855) (Figure 9) are also considered by Unno as belonging to the mandala category. They present a much stronger awareness of cartographic precision, however, as will be explained later in this chapter.” (Traganou, 28)
Tōkaidō michiyuki no zu is a map categorized as a mandala. Mandalas present the area in long curved lines from a distant view from an angle from above. The aesthetic art style is clear in the design of this map. The use of space and landscape are elaborate to demonstrate the just vast distance of the Tōkaidō. The winding and curving road looks as if it could go on forever. The actual distance from start to end is not clear but the names of the stops and prices listed demonstrate that the focus is on the locations along the road rather than the final destination. In some ways it reminds me of a guidebook for a city. Traganou likens dōchūki to a similar guidebook. Listing the prices for food at a cute café, or a recommendation for a place to stay the night. However, the Tōkaidō michiyuki no zu lacks the more elaborate text a guidebook might have. While mentioned earlier in the chapter, the interest in curved lines is linked to Chinese aesthetics rather the security concerns that Tokugawa took into consideration during the building of the road. The way the road branches and splits only to rejoin later on is quite unexpected for me. I would have assumed for this to be considered a different road. In addition, the map shows this bright red highlighted section of the road, this representing the Tōkaidō, yet at points it is obscured thanks to the mountains or perhaps valleys, and I find the aesthetic choice of aerial view but obscured to be a little strange. The use of colour as well is interesting. Other than the main road, the mountains are coloured brown with green tops while the water bays are a light blue. The folds in the scan imply the map was to be folded several times, and there doesn’t seem to be any cut offs or different saturation in colour which indicates a wood block print. I wonder if each of these maps are drawn by hand? It seems a little impractical however if it is seen more of a piece of art rather than a functional map, the practicality is less of a concern. Traganou does discuss practical aspects of this map such as the prices provided and the distances between post-stations on the other hand so perhaps my thoughts are lacking. The only standard type facing looks like the stampings of the cardinal directions and the map title at the top in a border.