Tokyo, Temple de Kanda Miyojin

This second Kanda Myojin composition by Nouët likely shifts spatial focus within the shrine complex, offering a view that complements rather than repeats the primary print. A secondary treatment might emphasize the wooded landscape surrounding the hilltop precinct — the zelkova and ginkgo trees that line the inner approach — or depict the view outward from the shrine hill across the densely built Kanda and Akihabara districts. Nouët's dual training — in French academic painting and through long practice within Japanese printmaking culture — equipped him to move between the intimate and panoramic within a single site. The image would be produced through the full [shin-hanga](/glossary/shin-hanga) collaborative process: Nouët's preparatory design passed to a carver who cut separate blocks for keyline and each color area, then to a printer who built up the final image through carefully registered impressions on dampened [washi](/glossary/washi) using a [baren](/glossary/baren) and hand pressure.