The scene of people gathered in front of the Torii gate of Sengen Shrine at the Subashiri gate of Mt. Fuji, located at the right east side of the Mt. Fuji is illustrated. The illustrated figures are the guides of the mountain sendatsu, who wear white outfits, straw hats and rosaries. They are about to guide the climbers. Some people carry the boxes strapped on their back and the gosampuku (three holy scrolls) are in it. Gosampuku are the three hanging scrolls that are displayed at the shrine when people enshrine god after climbing Mt. Fuji. The three scrolls consisted of Ominuki, the scroll that expresses the world view of Fuji Shinkou (A belief that treats Mt. Fuji as an embodiment of god), a portrait of a deity Konohana Sakuya Hime no Mikoto enshrined at the Sengen Shrine, and the other deity Komitake’s portrait.

This work illustrates people visiting Kaichō by Narita-san Shinshō-ji Temple at Fukagawa Fudō-dō Temple on April 15, 1885. It is recorded that the kaichō was held for sixty days and brought benefits to ordinary people. Many people have gathered to see the hidden Fudō Myō-ō, which indicates how lively the worship of Fudō Myō-ō was at the time.

This nishiki-e satirizes the conflicts between the former Shogunate and the new government in Kantō region during the Boshin War, in the form of ordinary people visiting Narita-san. The group of people with the Naniwa-kō banner on the left represents the new government, and the group with the Edo-kō banner represents the former Shogunate. In Kantō region where many domains were owned by feudal lords or retainers of the Shogunate, battles between the invading new government and escaping former Shogunate soldiers took place in Chiba (Funabashi and Ichikawa) and other prefectures (Iwai, Utsunomiya, Oyama, etc.). Records from that time describe the uneasy atmosphere with echoes of gunfire.

When visiting Narita from Edo by boat, people first went up the Edo River and then down the Tone River from Sekiyado to the Kioroshi-Ajiki river bank, and traveled on land from there to Narita. With Mt. Tsukuba in the background, two boats with Kabuki actors heading to dedicate a large votive picture are illustrated in the foreground.

This work illustrates Kabuki actors visiting Narita-san Shinshō-ji Temple on the occasion of kaichō. Narita-san Shinshō-ji Temple has become known to many people during the Edo period thanks to faith of Ichikawa Danjūrō I. Among successive generations of Danjūrō, Danjūrō VII visited the temple every year with his disciples and made many offerings, deepening the ties between the temple and the Ichikawa family.

This work illustrates the scene in the Kabuki play “Genjimoyō Furisode Hinagata” where Hiranoya Tokubei who threw himself to the river is pulled up by the rope of Narita Fudō. Danjūrō VIII who played the role of Tokubei also fully recovered from serious illness and was saved after praying to Narita Fudō. This episode overlaps with the story of Tokubei who was pulled up from the river by the rope of Fudō Myō-ō.

This work illustrates a shrine visit by Ichikawa Danjūrō VII of Naritaya, popular Kabuki actor who took the Bunka and Bunsei eras by storm, holding a baby. The baby is Shinnosuke, born on October 5, 1823. Shinnosuke later became Danjūrō VIII.

This is a manuscript of the Illustrated Legend Scrolls of Yūzū Nembutsu. It illustrates the origin and virtues of Yūzū Nembutsu, alongside the biography of Ryōnin Shōnin, founder of the Yūzū Nembutsu school of Japanese Buddhism. Yūzū Nembutsu is a teaching that oral recitation of the Nembutsu creates harmony between the self, others, and all things by Buddha’s virtue and turns this world into the Pure Land. Many manuscripts were made to spread the teaching of Yūzū Nembutsu. The exhibited work is a manuscript by Ikai Shōkoku, Japanese-style painter from Kyoto (1881-1939).