Children play on the bridge in front of Sadosan Seiren Printing in Chigusa, Kanazawa Village

License: In Copyright

People: Kondo, Tomio
Time: 1936
Owner Organization: Tokyo Photographic Art Museum

More Like This

Nibo Village in Kuninaka Plain. The bridge in front of Sanno-hiyoshi Shrine is a playground for children

Tokyo Photographic Art Museum

Tokyo Museum Collection

2 children of Toyo Miyatake playing riding tricycles in the sunset

Tokyo Photographic Art Museum

Tokyo Museum Collection

Agricultural Center of Kanazawa Village Nakaoki Sado country, circa 5th Year of Showa. Presently, Sado Agricultural Technology Center

Tokyo Photographic Art Museum

Tokyo Museum Collection

A peaceful scenery of a water mill in front of the entrance of a Bishamon (temple) in Hirashimizu, Kanazawa Village

Tokyo Photographic Art Museum

Tokyo Museum Collection

Jizo worshipping is deeply rooted in Sado culture and the island is dotted with halls for praying. At Owada, Kanazawa Village

Tokyo Photographic Art Museum

Tokyo Museum Collection

At the Ryotsu Port bus station in the 11th Year of Showa, guided bus tours mark the beginning of tourism boom in Sado

Tokyo Photographic Art Museum

Tokyo Museum Collection

The Blue-stockings 22: The blue-stocking declaiming her play －Act 6 Scene 1... the theatre shows a tiger asleep in the desert... Rosalba barely drags herself forward, and does so with even greater difficulty because of her five children and her aged father: －Rosalba falls at the foot of a date-palm covered with coconuts, and cries in despair: Oh heaven, when will our torments finish. －The entire audience (in a low voice): ‘and ours, too, when will they finish, oh heaven!’

The National Museum of Western Art, Tokyo

Union Catalog of the Collections of the National Art Museums, Japan

(Left) The little village on the far mountainside was already out of sight, and spring was coming around again. The grape trees were like large ailing snakes creeping under the coping stones of the wall. A brown light moved about in the tepid air. The void created by the selfsame every day is likely to chop down even the young trees that were left behind. In this everyday life, a thicket of trees protrudes like a boulder. (Right) The village I lived in has never been thought of as so small. The sun showed itself. The tall poplar forest looks like a beach being blown about by the wind. I grow dizzy just watching that seamless succession. If I can manage to get drunk on this succession of unchanging days, I can also grow to feel like I have taken down an elephant or snake. He differentiated things in this way, like a fluttering butterfly

Museum of Contemporary Art Tokyo

Tokyo Museum Collection

JOURNEY TO CHINA 17: THE PENAL CODE. The Chinese legislators have decreed that all the accused will answer a summons freely in front of their judges, and so they are brought before the examining magistrate between two policemen and bound with handcuffs, which in fact leaves them no more liberty than to sneeze. Moreover justice is delivered with such promptness in the Celestial Empire that it is very rare for he who has been cautioned to remain more than eight months before attending his trial, finally the solemn day arrives when he sees himself sentenced to a fortnight in prison, and the capped mandarin has the goodness to explain to him that this fortnight is not to be confused with the eight months he has already spent behind bolted doors

The National Museum of Western Art, Tokyo

Union Catalog of the Collections of the National Art Museums, Japan