In the right-hand screen a river passes between the foreground and higher, and more extensive background mountains. The rolling hills are punctuated by clouds that part to reveal portions of the underlying groves of trees. The left-hand screen continues this configuration, with the river broadening somewhat and including a bridge protruding from the foreground and crossing a portion of the river. Noteworthy in both screens is the consistent spatial recession, which suggests familiarity with a Western approach to composition.
Arashiyama, located in the suburbs of Kyoto, is especially noted for several things of great narrative possibility: Several famous temples, stately bamboo groves, chattering hordes of monkeys, and, in the Fall, a gorgeous display of Momiji maple leaves; none of these appear in the present paintings. In fact, the scene is identified only by the iconic Togetsukyo Bridge in the left-hand screen. The artist, Shiokawa Bunrin (1808-77), lived in Kyoto and would have been very familiar with the manifold attractions of Arashiyama. By not over-emphasizing narrative content, Bunrin allows the formal means by which the image was created to stand out and to receive the attention they deserve.
Bunrin was a pupil of Okamoto Toyohiko (1773-1845) and was thus well-versed in the Shijo style of painting and also learned something of Western styles. The present painting displays the techniques and approach of the Nanga literati school, ink and brushwork that justifies the influence Bunrin wielded during the early Meiji era.
