A photo album titled Nihon no Meisho (日本之名勝; Japan’s famous sights), compiled by Segawa Mitsuyuki (瀬川光行) and published by the Historical Records Compilation Office in 1900, captured scenic spots from across Japan. This time, we will introduce images from the northern kanto region and various locations in the Tohoku region.
Hokkaido (北海道)
Sapporo City (札幌市街)
In 1869, the Development Commission (Kaitakushi; 開拓使) was established in Hokkaido (北海道), marking the beginning of large-scale settlement and development. The population of people relocating from across Japan to work on pioneering efforts steadily increased. In 1888, the neo-Baroque-style government building, now known as the “Former Hokkaido Government Office Building,” was completed. Just ten years later, the city had already undergone significant modernisation, as seen in these photographs. Incidentally, the terrifying series of Bear attacks called the Sankebetsu Brown Bear Incident, which gained fame through Yoshimura Akira (吉村昭) ’s novel Kuma Arashi (羆嵐), would take place roughly 15 years after these pictures were taken.
Sapporo agricultural college (札幌農学校)
Hakodate Port (函館港)
Ainu horseback riding scene at Muroran port (室蘭港)
Iwate (岩手)
Ishiwarizakura (石割桜)
A designated natural monument of Morioka (盛岡), the Rock-Splitting Cherry Tree (Ishiwarizakura; 石割桜) continues to attract visitors every spring. Looking up present-day images online, the gap in the rock appears narrower than in this historical photograph. Feeling the passage of 120 long years from these images, I can’t help but naively marvel at how amazing trees really are.
Bahitsu ichiba (馬匹市場)
Morioka was known as a breeding ground for fine horses. The description in the photo album states:
‘All the famous and swift horses gather at the market, their neighs echoing through the sky, and the sound of iron hooves shaking the very earth.’
A rather dramatic depiction, to say the least!
Miyagi (宮城)
Godaido, Matsushima (松島五大堂)
Famous for the poetic verse ‘Matsushima ya, aa Matsushima ya, Matsushima ya (松島や ああ松島や 松島や)’, Matsushima was described in the album as ‘an unmissable scenic spot’. Even 120 years later, it remains a beloved tourist destination, and its scenery has hardly changed.
Kahoku Shimpo (河北新報) Newspaper Company
Nihon no Meisho contains numerous photographs of local businesses, and the section on Sendai features the Kahoku Shimpo (河北新報) newspaper company. The company still delivers news to the Tohoku region today, but in this historical image, numerous rickshaws can be seen gathered in front of the office. For a moment, I wondered why tourists would be visiting a newspaper company. But then I realised—this was the Meiji 30s (1897–1906), long before automobiles became common. These rickshaws probably served as a taxi-like means of transport, likely ferrying journalists around (probably).
Fukushima (福島)
Soma (相馬) wild horse festival (Soma no maoi ;相馬野馬追)
Described as ‘gishiki subete ta to shu wo i nishi, amata no jimmin ha kora wo kanshi kabuto wo yosohi, kiba nite gyoretsu wo tsukuri, seisei toshite neri yuku nari (儀式すべて他と趣を異にし、数多の人民は、甲を環し冑を装ひ、騎馬にて行列を作り、整々として練り行くなり ; a ritual unlike any other, where countless participants don armour and helmets, forming an orderly mounted procession’, the Soma no maoi (相馬野馬追) festival was already well loved by the local community at the time. The horses in the photos are likely native Japanese breeds. For reference, thoroughbred horses were first imported to Japan in 1877.
Yamagata (山形)
Uesugi (上杉) Shrine
Dedicated to the highly esteemed feudal lord Uesugi Yozan (上杉鷹山; Harunori, 治憲), Uesugi Shrine was a relatively new establishment at the time, having been founded in 1871. When this photograph was taken, the shrine must have still looked pristine.
Curiously, the photographer decided to include another cameraman within the frame, displaying a playful touch. This is the only such instance in the entire album. Was it a coincidence? It’s oddly intriguing.
Kubo zakura of Isazawa (伊佐澤の久保桜)
Located in Isazawa (伊佐沢), a district in Nagai (長井) City between Yamagata (山形) and Yonezawa (米沢), this ancient cherry tree is now a designated national natural monument. The photograph captures a large gathering of people, but many are cut off at the edges, seemingly sacrificed in favour of showcasing the tree itself. The photographer’s ruthless prioritisation of composition is quietly amusing, which is why I chose to highlight this image.
Akita (秋田)
Tsuchizaki Port (土崎港)
Presumably the predecessor of today’s Akita Port, this harbour scene features a striking vertical silhouette in the distance. Though one might be tempted to think it is Port Tower Selion, the modern symbol of Akita Port, it is actually the mast of a large ship. On a somewhat unrelated note, wind power is once again gaining attention as a sustainable energy source for ships. Who knows? Perhaps future ports will once more be lined with sailing masts, much like in this photograph.
Tochigi (栃木)
Ashio Copper Mine (足尾銅山)
A staple topic in Japanese history textbooks, the Ashio (足尾) Copper Mine Pollution Incident was a major environmental crisis. Tanaka Shozo (田中正造), who tirelessly worked to resolve the issue, had already begun his activism in the 1880s. This book was published in 1900, yet its description of Ashio makes no mention of the pollution problem. Instead, it states:
“Many who travel to Nikko (日光) take a detour to Ashio to witness the mining operations firsthand. This has now become a common practice, and Ashio is even counted among the renowned sights of the region.” At the time, it seems, Ashio was still viewed as a tourist attraction in its own right.
Nikko (日光)
The Shinbutsu Bunri (神仏分離 ; Separation of Shinto and Buddhism) policy was enacted by the Meiji government in 1871, and in the rapid push for modernisation, cultural heritage was often undervalued. Indeed, this photo album frequently highlights newly constructed buildings as local ‘famous sights.’ Against this backdrop, a group of townspeople and former retainers of the shogunate established the Hoko-kai (保晃会 ; Preservation Society) in 1879 to protect Nikko’s temples and shrines. They initiated restoration efforts, ensuring the preservation of Nikko’s opulent splendour. As we admire its grandeur today, we should also remember those who dedicated themselves to its protection.
Extra tidbit
Shinbashi Geisha (新橋芸者)
This has nothing to do with Tohoku, but midway through the album, there is an unexpected section featuring only women. This particular photograph captures geisha (芸者) from Shinbashi (新橋), Tokyo. Incidentally, the phrase ending “zamasu (ざます)”, now mainly associated with snobbish, upperclass manga characters, was once considered refined feminine speech. Had we called out to these geisha, they might have responded with a polite ‘〜zamasu”.
There’s much more to discover
This photo album covers all of Japan, far more than we can introduce here. Fortunately, it is freely available for public viewing (click here to explore). Enjoy!
What is ‘Daredemo (anyone) Museum’?
Anyone can create their own virtual museum using public domain artworks. Each staff member of Waraku (和樂) web curates their own museum, exploring the appeal of Japanese arts and crafts from their own unique perspective. The ‘Daredemo Museum’ is distributed not only through web media, but also through various media platforms, such as social networking accounts and audio content, in a way that suits each platform. We explore new ways to enjoy art.
Sapporo agricultural college (札幌農学校)
Hakodate Port (函館港)
Ainu horseback riding scene at Muroran port (室蘭港)
Ishiwarizakura (石割桜)
Bahitsu ichiba (馬匹市場)
Godaido, Matsushima (松島五大堂)
Kahoku Shimpo (河北新報) Newspaper Company
Soma (相馬) wild horse festival (Soma no maoi ;相馬野馬追)
Uesugi (上杉) Shrine
Kubo zakura of Isazawa (伊佐澤の久保桜)
Tsuchizaki Port (土崎港)
Ashio Copper Mine (足尾銅山)
Nikko (日光)
Shinbashi Geisha (新橋芸者)
