If you walk for a while along the road from Shomyoji Temple in Kanazawa Ward, Yokohama, toward the sea, you will reach the place where Takama Soshichi’s studio was once located. Takama moved there in 1935, the year that this painting was made.
In this seaside location, Takama, who had previously exhibited honest, realistic paintings in government-sponsored exhibitions, developed a new painting style full of bright and clear colors. The coastal area, known for generations as Kanazawa Hakkei, had not seen any land reclamation work, and so retained its natural beauty. A canvas still being worked on and the artist’s favorite pots, cups, and pipes are depicted along with a small table. The cape visible at the end of the curving coastline and inland sea is probably Nojima, which was one of eight scenic locations in this area that frequently featured in ukiyo-e woodblock prints and other works. (The term hakkei in the placename signifies an area with eight famous views.)
(KASHIWAGI Tomoh)
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If you walk for a while along the road from Shomyoji Temple in Kanazawa Ward, Yokohama, toward the sea, you will reach the place where Takama Soshichi’s studio was once located. Takama moved there in 1935, the year that this painting was made.
In this seaside location, Takama, who had previously exhibited honest, realistic paintings in government-sponsored exhibitions, developed a new painting style full of bright and clear colors. The coastal area, known for generations as Kanazawa Hakkei, had not seen any land reclamation work, and so retained its natural beauty. A canvas still being worked on and the artist’s favorite pots, cups, and pipes are depicted along with a small table. The cape visible at the end of the curving coastline and inland sea is probably Nojima, which was one of eight scenic locations in this area that frequently featured in ukiyo-e woodblock prints and other works. (The term hakkei in the placename signifies an area with eight famous views.)
(KASHIWAGI Tomoh)