Fish sellers cluster with their baskets at the near end of Nihonbashi. Behind them, a formal procession advances across the bridge. Utagawa Hiroshige’s woodblock print brings these groups into the same morning scene: people moving through a city whose commerce and official life share the street. The picture, made around 1833–34, gives us a place to begin exploring Edo before it became Tokyo. The Met: Hiroshige’s Nihonbashi
It is an arranged artistic composition, with choices about viewpoint, colour and detail. Those choices are part of its historical interest. To understand the city, we can put the print beside guidebooks, other images and surviving objects, each revealing a different activity or expectation.

The shogun’s city
Tokugawa Ieyasu established his shogunate in Edo in 1603. The shogun headed Japan’s warrior government, while the emperor remained in Kyoto. Edo grew as a centre of political power and urban culture during the long Tokugawa period. In 1868, the shogunate’s collapse and the Meiji Restoration brought a new political order, and Edo was renamed Tokyo. Tokyo Metropolitan Government: the city’s history
The focus here is mainly the eighteenth and nineteenth centuries. Edo’s identity as a seat of government mattered, but official institutions alone cannot explain a city’s daily life. Traders, artisans, performers and the people serving a large urban population shaped its streets and its cultural production. The Met’s account of the period places merchants and craftspeople at the centre of much of this artistic activity. The Met: urban culture in the Edo period
A bridge between official and commercial life
Nihonbashi stood at the starting point of the Tōkaidō road from Edo towards Kyoto. Hiroshige depicts a daimyō procession: the travelling household and attendants of a regional lord. The fish sellers in the foreground belong to the nearby market. A major route, formal movement and the business of supplying food meet in one composition. The Met: the procession and fish sellers
Travel by regional lords was part of the Tokugawa political system. Under sankin-kōtai, they spent alternating periods resident in Edo. The resulting movement supported roads, lodging and transport. Other travellers also used these routes, although journeys were subject to restrictions and often took the form of pilgrimages. National Diet Library: travel and famous places
The image therefore connects the city to places beyond its edge. Goods and people arrived, passed through and departed. A bridge was a physical crossing and a point around which different kinds of urban activity could gather.
A city people could read about
Guidebooks introduced Edo’s famous places, shops and products. The National Diet Library’s collection shows that they served residents as well as visitors and could be bought as souvenirs. Their subjects included temples, shrines, entertainment and commercial destinations. Readers could approach the city through a publication before visiting a place in person. National Diet Library: Edo guidebooks
Some publications promoted particular businesses. A guide describing where to shop or eat is evidence of how sellers wanted to be found, alongside evidence of the goods and services on offer. Its selections require interpretation: a place’s appearance in a guide does not tell us how frequently every resident could afford to visit it.
Famous-place images extended this culture of looking. Outings, journeys and recognised views supplied subjects for prints. The National Diet Library connects the popularity of these images with the growth of travel and urban leisure. A view could bring an unfamiliar destination closer or recall a place someone had already visited. National Diet Library: the appeal of famous-place pictures
Many hands behind a famous artist’s print
Ukiyo-e, usually translated as pictures of the “floating world”, includes prints associated with actors, entertainment districts and famous places. Their production depended on cooperation. An artist supplied a design, carvers prepared blocks, printers transferred the image to paper, and a publisher organised the commercial venture. The artist’s name identifies only one part of this work. The Met: the makers of a woodblock print
Colour printing required the impressions from separate blocks to align on the sheet. A finished print thus records skilled manual coordination as well as a design. Repeated impressions allowed an image to circulate among buyers, linking artistic production with the demand for recognisable people, fashions and destinations.
This shared labour is worth remembering when looking at Hiroshige’s bridge. The scene comes to us through a designed and manufactured object. It travelled through a market of its own, even as it pictured commerce in the city.
Theatre beyond the stage
A second print shows the Kabuki actor Ōtani Oniji III in the role of Yakko Edobei. Kabuki is a form of Japanese theatre known for its stylised performance. Tōshūsai Sharaku made the portrait in 1794. The leaning body, spread hands and forceful expression present a character in performance. The museum identifies the role as a samurai’s servant in a named play. The Met: Sharaku’s actor portrait

An actor portrait carries theatrical culture beyond the moment of performance. The viewer can recognise a performer or encounter a role through the image. Sharaku’s exaggeration makes that relationship especially visible: the pose asks to be read as part of a performance. Treating it as a straightforward record of ordinary behaviour would lose what the artist is doing.
For the history of everyday life, leisure deserves attention alongside work. A city needed food and transport, but residents also sought entertainment, spent money on images and formed attachments to familiar performers. The prints preserve some of that world of attention and consumption.
Fire as an urban danger
Edo’s wooden buildings and crowded conditions made fire a recurring hazard. A surviving firefighter’s ensemble introduces the material response: thick quilted cotton, an outer coat, an inner jacket and trousers. Such coats could be reversible, with a comparatively plain indigo exterior and elaborate imagery inside. The Met: a firefighter’s clothing

The Met dates this example to the middle of the nineteenth century and allows either an Edo or Meiji attribution. Its decorated lining includes a scene associated with the deity Susanoo. The garment combines practical construction with visual identity. The museum display helps us examine it, while its uncertain period prevents us from assigning it confidently to a particular moment in Edo’s history.
A coat cannot tell the whole story of how a fire was fought. It does make the person carrying out dangerous urban work more tangible. Placed beside the bridge and actor prints, it widens the range of lives through which we can approach the city.
Edo within a wider world
Tokugawa authorities controlled foreign contacts, but connections continued. Restricted trade with Chinese and Dutch merchants at Nagasaki provided channels through which goods and ideas reached Japan. Edo’s distinctive culture developed within that setting of regulated exchange. The Met: continuing overseas contacts
The city emerges from these sources as a place of movement and skilled work: a procession crossing a bridge, a publisher commissioning an image, a performer being recognised, a firefighter putting on a coat. Each source offers a partial view. Together, they help us follow urban life beyond the residences of rulers and into the places where people bought, watched, travelled and worked.
For another setting in which public buildings and entertainment shaped an urban community, explore life in Roman Stobi. The cities belong to different periods and institutions; their surviving material asks a shared question about how people used the spaces around them.









