Abstract

A circumstance where paintings of famous places are created in the Shijo school is described based on an analysis of the subjects and the composition of each image in the "Album of Landscapes in Osaka". Second, the use of pictorial models by other artists who belong to the Shasei schools surrounding Tosui is discussed. Third, the characteristics of paintings of famous places created by the Osaka Shijo school artists are examined in comparison with the Kyoto Shijo school artists. These descriptions clarify the working attitude of the Shijo school artists from the end of the Edo period to the Meiji period. In addition, how the album was adopted in the Osaka painting schools is also explained. Our descriptions provide a means by which the "Album of Landscape in Osaka" demonstrates the working attitude and principles of coping painting models in the Shijo schools during the pre-modern and modern eras. One may say that the album is the archetype of albums, reflecting the characteristics of people who used it in Osaka at that time. All of these things make clear a wide range of the working attitudes and activities of the Shasei schools from the end of the Edo period to the Meiji period