Naiku seen from the outside of the plank fence. Left to right, the Main Sanctuary, Tohoden, Saihoden

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Complete north view of the Main Sanctuary, Naiku. To the right, roof of Saihoden. To the left, Tohoden

Complete north view of the Main Sanctuary, Naiku. To the right, roof of Saihoden. To the left, Tohoden

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Saihoden, Tohoden, Naiku

Saihoden, Tohoden, Naiku

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View of the Main Sanctuary from under the eaves Saihoden

View of the Main Sanctuary from under the eaves Saihoden

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The front of the Saihoden, Naiku

The front of the Saihoden, Naiku

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South Gates of the Plank Fence and Outer Jewel Fence, Naiku

South Gates of the Plank Fence and Outer Jewel Fence, Naiku

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Northwest view of the Main Sanctuary, Naiku

Northwest view of the Main Sanctuary, Naiku

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Gable detail of the Main Sanctuary, Naiku

Gable detail of the Main Sanctuary, Naiku

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View of the wooden staircase of the Main Sanctuary, Naiku through the Bangaki Gate and the South Gate of the Fence of Excellence

View of the wooden staircase of the Main Sanctuary, Naiku through the Bangaki Gate and the South Gate of the Fence of Excellence

Tokyo Photographic Art Museum

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Strangers in Paris 17: Shops of greater and greater enormity -Can you show me, please, where the counter for cotton bonnets is?... -At the end of the 9th aisle on the right, then the 4th on the left, and once you’ve arrived at the 15th counter, ask for cotton bonnets; there they’ll show you clearly the way you should take to get there... -Oh! damnation... I’m very angry at having left my cab at the door of your shop!..

Strangers in Paris 17: Shops of greater and greater enormity -Can you show me, please, where the counter for cotton bonnets is?... -At the end of the 9th aisle on the right, then the 4th on the left, and once you’ve arrived at the 15th counter, ask for cotton bonnets; there they’ll show you clearly the way you should take to get there... -Oh! damnation... I’m very angry at having left my cab at the door of your shop!..

The National Museum of Western Art, Tokyo

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Double Faces 1: The Uncle-The Nephew: [On the left of the page, vertically]: (The Nephew, aloud) I've been given a little too much, that's bad -(The Uncle, aside) I'll inherit from my nephew, how strange!  [On the right of the page,vertically]: (The Uncle, aloud) I'm not well, my friend. -(The Nephew, aside)Things are going well, I'm going to inherit from him

Double Faces 1: The Uncle-The Nephew: [On the left of the page, vertically]: (The Nephew, aloud) I've been given a little too much, that's bad -(The Uncle, aside) I'll inherit from my nephew, how strange! [On the right of the page,vertically]: (The Uncle, aloud) I'm not well, my friend. -(The Nephew, aside)Things are going well, I'm going to inherit from him

The National Museum of Western Art, Tokyo

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(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

(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

BOHEMIANS OF PARIS 27: COUNTRY ACTORS: -Yes,my dear fellow,yes the barbarians hissed at me in Cinna;and what's more you've seen me in Cinna! -Yes, I flatter myself that I've seen you, but don't you see that the provincials are hard up; open at the Français, go and find Mr.J.J.,get yourself looked after, ask for one hundred thousand francs per year and they'll applaud you...but you want success with 1500F[rancs] salaries and at Beauvais...greenhorn!

BOHEMIANS OF PARIS 27: COUNTRY ACTORS: -Yes,my dear fellow,yes the barbarians hissed at me in Cinna;and what's more you've seen me in Cinna! -Yes, I flatter myself that I've seen you, but don't you see that the provincials are hard up; open at the Français, go and find Mr.J.J.,get yourself looked after, ask for one hundred thousand francs per year and they'll applaud you...but you want success with 1500F[rancs] salaries and at Beauvais...greenhorn!

The National Museum of Western Art, Tokyo

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

JOURNEY TO CHINA 1: THE DISEMBARKATION. Each traveller who lands at a port in China is immediately conducted, like a wrong-doer, between two rows of inquisitive people to the passport office: hardly has he touched the soil of the Celestial Empire, than he becomes the prey of luggage-porters, hotel-boys, interpreters, messengers and other highwaymen authorised by the Chinese police

JOURNEY TO CHINA 1: THE DISEMBARKATION. Each traveller who lands at a port in China is immediately conducted, like a wrong-doer, between two rows of inquisitive people to the passport office: hardly has he touched the soil of the Celestial Empire, than he becomes the prey of luggage-porters, hotel-boys, interpreters, messengers and other highwaymen authorised by the Chinese police

The National Museum of Western Art, Tokyo

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

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Last Updated: 2021-03-14

Uploaded: 2026-03-25