The two ukiyo-e woodblock prints making up View of Tempōzan Park in Naniwa are half of a tetraptych by Osaka artist Gochōtei Sadamasu (fl.

[1] He was not a professional artist, but instead a moneyed landowner[2] who used his wealth to support other Osaka print-makers directly and by opening a school of print design.

[5] Ukiyo-e scholar Andreas Marks notes that the seal version appearing in View of Tempōzan Park in Naniwa was used by Tenki on prints from 1826 to 1838.

[7] Having come to prominence approximately a century after the emergence of ukiyo-e in Edo,[8] the kamigata-e genre was predominantly devoted to kabuki-e, images of kabuki actors on and off stage.

Another differentiating characteristic of kamigata-e is the fact that they were produced in the main not by professional studio artists, but by amateur “talented kabuki fans” seeking to memorialize and promote their dramatic heroes.

In the early years of ukiyo-e, landscapes were not a popular subject, being a “far less dominant” genre than images of actors, beauties or everyday life scenes.

They are numbered with the kanji characters 一 (1) and 貳 (2) in black ink within yellow squares at the top of the left-side column of the rectangular seal and signature cartouches.

Those depicted fall into various social ranks and classes including courtesans and geisha, samurai, servants, hawkers and chōnin townspeople.