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\"\"<\/a>
\n\"\"<\/a>
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\n\"\"<\/a>
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\u25cf\u304a\u77e5\u3089\u305b
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\n\u304a\u6c42\u3081\u306fAmazon\u3067\u3002
\nhttps:\/\/amzn.asia\/d\/eUiv9yO<\/a>
\n\"\"<\/a><\/p>\n

English version\u2b07<\/p>\n

[Captivated by the Important Cultural Property \u201cTakahara Picture Screens\u201d…]
\nThis flat, bird’s-eye view that captures the entire scene from a slightly diagonal angle above. It must be one of the traditional \u201cconventions\u201d of Japanese painting. I suddenly realized the artistry behind it. …<\/p>\n

\u3000Although the development of the Takehara Salt Fields began around 1650, their origins can be traced back to a public works project for \u201cnew field development\u201d undertaken by the Asano Domain of Hiroshima. Records indicate that from around 1640 to the 1670s, new fields for rice cultivation were actively developed in Takehara. It was during this period that some of these fields were converted into \u201csalt fields.\u201d
\n\u3000Inner-bay salt fields required enormous civil engineering costs, and even if successful, the subsequent market for \u201csales\u201d remained an unstable factor, making it an extremely risky venture. In contrast, the project in Takehara was reportedly carried out as a government-sponsored construction project under the direction of Suzuki Shiroemon, the magistrate of Kamo District. He invited two engineers, Tar\u014demon and Shichib\u0113, from Ak\u014d\u2014a leading region for inlet salt fields\u2014to oversee the work. When this proved successful and yielded high-quality salt, he proceeded to develop \u201cKeian no Furuhama\u201d in 1650. Because this salt field also generated unexpectedly high profits, it is said that a wide range of \u201cmerchants\u201d from the local area, port towns throughout the domain, and the capital of Hiroshima began vying to manage salt fields.
\n\u3000The \u201cTakehara City Important Cultural Property: Colored Ink on Paper Takehara Picture Screen\u201d shown above depicts this bustling scene. It was likely commissioned by merchants of the time to promote their businesses and maximize profits. Drawing on the traditions of Japanese painting, it depicts the \u201cprosperity\u201d of Takehara in detail from a diagonal bird\u2019s-eye view.
\n\"\"
\n\u3000Although this was considered a modern street scene photograph, it conveys the reality that the \u201cTakahara Salt Industry,\u201d which flourished throughout the Edo period, has sustained this region.
\nI am someone who loves art, so I can\u2019t help but be \u201ccaptivated\u201d by expressions like this.
\nI suppose this kind of objective and impartial perspective lies at the foundation of the \u201cworldview\u201d of humanity, and particularly of the Japanese people. I sense a power in this aerial perspective that conveys such a \u201cway of seeing things.\u201d This viewpoint represents an intentional effort to grasp the entire scene from a flat, bird\u2019s-eye view\u2014a perspective that does not actually exist on the opposite side of the mountains. There are no mountains or capes in this direction.
\nAs an artist, however, he likely walked the streets of Takehara in detail, taking notes all the while, and after double-checking to ensure the composition was accurate, he chose to depict it from this specific angle. Even for us, living in a distant future, the scene of Takehara at that time is vividly brought to life and conveyed at a single glance.
\nAs a visitor to the town, I find this depiction deeply convincing. …<\/p>\n

\u25cf Announcement
\nMy book, \u201cWriters and Living Spaces,\u201d has been published as an e-book by Gentosha.
\nAvailable on Amazon.<\/p>\n","protected":false},"excerpt":{"rendered":"

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