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Jumantsubo was where Senda and Sengoku lie in modern Tokyo’s Koto-ku. Beginning in 1723 a landfill was established in the shallow tideland there. This landfill reached the size of 330,000 square meters, an area which in Japanese can be called jumantsubo, and it is from there that the place was named. Due to the fact it often experienced tidal flooding it was not suitable for living, and while the central government installed a coin-casting mint there, it eventually became a private possession of the Hitotsubashi Tokugawa family in 1796. In the late Edo era it became a popular spot for gathering shells in spring, for its New Year’s sunrise view and for its view of the moon. The Susaki Benten shrine facing the coast (now known as Susaki shrine) also attracted many visitors. Scenes of shell gathering, the first sunrise of the year and lively moments at Susaki Benten shrine are depicted in Hiroshige’s series of work, such as Toto Meisho (“Famous Places of the Eastern Capital”) and Edo Meisho (“Famous Places of Edo”), which were published in the Tenpo years. However, in this painting from Meisho Edo Hyakkei (“One Hundred Famous Views of Edo”) Hiroshige’s approach differs greatly from these motifs. He expresses a rough winter wetland from a bird’s eye perspective looking from the seaside. There is a tranquility to the shore under silent snow, yet the eagle with its wings outstretched in pursuit of its prey high above is full of dynamism: this contrast of stillness and movement is the greatest charm of this piece. In the far distance the sacred mountain of the Kanto region, Mount Tsukuba – as symbolic as Mount Fuji – looks down on the earth calmly.