Views Kobe Scroll (1 results)

Scroll (378 x 7280 mm.), inner wooden core roller. [Japan]: late Edo or early Meiji. It is difficult to express the beauty and detail of this scroll, which celebrates the seasonal landscapes of Kobe in the mid- to late Edo era, well before it became an industrial city in the 20th century. The artist was a highly accomplished observer, using vivid colors and a liberal use of perspective to portray the views. We do not find any similar scrolls. The most significant geographical points and landmarks are named on small slips of decorated paper with manuscript characters pasted adjacent. At the beginning of each of the four scenes, we find manuscript title labels. 1. Winter: This beautiful painting (1735 mm. long) recrates the view from Tenj?ji temple on snow-covered Mount Maya, looking in the direction of Amagasaki and the great metropolis of Osaka and its castle, seen far in the distance. The Kong? mountain range behind Osaka is covered in snow. Hundreds of ships are shown sailing on the Inland Sea, and the nearby coastline of Kobe is carpeted with kura (warehouses) and homes. 2. Summer: This view (1680 mm. long) is from the foothills above Kobe, looking across the Hyogo Tsu harbor (constructed in the late Heian period to facilitate trade with Song dynasty China) to Wada peninsula, illustrating one of the busiest shipping and transport hubs throughout Japanese history. This marvelous painting depicts hundreds of kura and shops of Kobe and the ships in the harbor and canals. Thousands of barrels (of sake?) and much timber rest on the docks, awaiting transport. The depiction of the many kinds of ships, each built for specific cargo, is incredibly detailed. 3. Autumn: Our third scene (1725 mm. long) looks westward from the sea towards the Wada peninsula in the foreground, Kobe ?village,? and the coast of the Inland Sea. The Rokk? mountain range above Kobe is portrayed. This fine image was drawn well before the Wada peninsula disappeared due to enlargement by landfill in the 20th century. At the time this painting was realized, the peninsula was clearly a pleasure ground, with families picnicking, strolling, playing games, and dancing amongst the weather-beaten pine trees. A building is shown housing men tracking incoming ships. The harbor is packed with sailing ships, mostly docked but some in transit in full sail. Many warehouses and dry docks are shown, lining the harbor. Wada shrine, founded in 675, is also depicted. Barrels containing what we assume is sake sit on the docks, waiting to be loaded on to the ships. 4. Spring: The fourth scene (1720 mm. long), depicts Suma, an area of western Kobe, in the springtime. The geography of Suma is varied, from beaches along the Inland Sea to mountainous wooded areas. Our view, to the west and south, takes in many notable features including the Suma dera temple complex of buildings, Mount Hachibuse (part of the Rokk? mountain range above Kobe), Awaji island, Shikoku, and Wakayama. The cherry trees of Suma dera temple (founded in 886 by the emperor and the scene of a famous battle during the Gempei War) have exploded with blossoms, with the artist?s use of white pigment from ground-up seashells imparting a 3D effect. We see Yoshistune?s pine and the pond where he victoriously washed the head of his great opponent Taira Atsumori. Another village is portrayed, also with a rich display of blossoming cherry trees. People are seen walking in front of shops and cafes along the Saigoku kaid? highway, the main road of western Japan. The right side of each image has a pasted label indicating the place portrayed. All of the images contain the name or artist name of the artist, Nakaya Shin ??? Two of them state that Nakaya copied the scenes, and one states that he created the scene.