A genre scene from Yoshida's India and Southeast Asia series (1930–1931), depicting street performers — one of his most distinctive subject choices in a body of work already exceptional for its range. India series prints command a 50–100% premium over typical Japanese landscapes, and figure-focused Indian subjects are among the rarest in his output.
From Yoshida's celebrated series documenting his 1931 travels through the Indian subcontinent and Southeast Asia, this print isolates a window opening in the ruins of Fatehpur Sikri — the Mughal emperor Akbar's sandstone capital abandoned in the 1580s. The jaali lattice carved into the red stone creates a visual filter through which light and shadow play in shifting geometric patterns, a subject that demanded the precise registration control at which Yoshida excelled. As part of a systematic series, the work reflects Yoshida's disciplined approach to documenting architectural heritage — treating the window not merely as a decorative detail but as a portal between the grandeur of Mughal civilization and the open landscape beyond.
Curated cross-cuts that include this print.
A Window in Fatehpur-Sikri from the series “India and Southeast Asia” was created by Hiroshi Yoshida (吉田博) in 1931.
Yes — A Window in Fatehpur-Sikri from the series “India and Southeast Asia” is part of the India and Southeast Asia series (print 1) by Hiroshi Yoshida.
A Window in Fatehpur-Sikri from the series “India and Southeast Asia” uses Bokashi, Nishiki-e, and Moku-hanga, on color woodblock print.
A Window in Fatehpur-Sikri from the series “India and Southeast Asia” was published by Yoshida Studio (1931).
A Window in Fatehpur-Sikri from the series “India and Southeast Asia” depicts interiors.
A Window in Fatehpur-Sikri from the series “India and Southeast Asia” measures 27.6 × 40.8 cm (Oban format).
