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Loan Object
Artist: Madoya, Japanese, active ca. 1830s

Mount Tenpō (Tenpōzan), from the series Eighteen Admirations of Naniwa in Spring (Naniwa shunshō jūhachi-ban no uchi)


Surimono, shikishi-ban; polychrome woodblock print with gauffrage

image: 7 9/16 × 6 3/4 in. (19.21 × 17.15 cm)
Promised gift of Virginia Shawan Drosten and Patrick Kenadjian, B.A. 1970

窓屋 「浪花春賞十八番の内 天保山」 江戸時代

Although inscribed as one of a series called Eighteen Admirations of Naniwa in Spring, this print appears to be the sole example of a work by Madoya, an unknown artist. It celebrates the dredging of the mouth of the Aji River in the Bay of Osaka in 1831. This project of early modern geoengineering was undertaken to accommodate larger ships at the port, allowing them to dock and unload their wares in the port town. The silt removed during the dredging was deposited nearby and became Mount Tenpō, named after the era in which it was created and mentioned in the third poem at far left. Madoya chose to focus, up close and personal, on a woman and a large trading ship, emphasizing the practical effects on travel and trade for his city provided by the newly deepened harbor.

Edo period (1615–1868)
Works on Paper - Prints

Joan B. Mirviss (dealer), New York; sold to Virginia Shawan Drosten and Patrick Kenadjian, Koenigstein im Taunus, Germany, 2017 (on loan to the Yale University Art Gallery, New Haven, Conn., 2017–present)


Sadako Ohki and Adam Haliburton, The Private World of Surimono: Japanese Prints from the Virginia Shawan Drosten and Patrick Kenadjian Collection (New Haven, Conn.: Yale University Art Gallery, 2020), 158–60, no. 43, ill.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.