Utagawa Kunisada (Toyokuni III), Utagawa Hiroshige 1854 This picture depicts characters who appear in an Edo Period play called “Mishima no Osen”, or Osen of Mishima. Osen appears in a number of plays, in some of which he is depicted as a bandit, and it is probable that this is reflected in this work. The inset probably depicts Daibagawa River and the route from the left side runs down a steep slope leading to Shinmachibashi Bridge across the river. This work can be interpreted as representing the route, which requires great caution, facing Mishima Station.

Utagawa Kunisada (Toyokuni III), Utagawa Hiroshige 1854 The two figures in this picture are Ju-bei and Oyone, both of whom appear in “Iga-goe Dochu Sugoroku (Revenge Sought Across the Path of Iga)”, a play based on an actual event known as “Iga-goe no Adauchi” performed in both a Japanese puppet and Kabuki theaters. This event is known as one of the three great acts of revenge, the other two being Chushingura and Soga no Adauchi. This picture shows Jubei depicted in a way that suggests a likeness to third generation-Bando Mitsugoro. Mount Fuji can be seen in the inset together with the mountains around Numazu Station and what appears to be Senbon Matsubara, or Senbon Matsubara Pine Forest. Senbon Matsubara is the name of a stretch of land planted with pine trees along the coast to the south of Numazu Castle, which can be seen on the far right of the picture.

Utagawa Kunisada (Toyokuni III), Utagawa Hiroshige 1854 This work shows a woman holding a fan bearing the characters for “White sake” standing in front of barrels of sake. The woman has the appearance of a white sake vendor. White sake was known as a specialty in this area. The barrels bear the legend “Fuji no Shirozake,” or white sake from Fuji, reflecting the large image of Mount Fuji so big that it protrudes out of the inset. Works depicting Hara station often features images of Mount Fuji that protrude from the frame.

Eisai 1854 It depicts the whole picture of Daikinji Temple, which existed on Kinkazan until the Edo period. Kinkazan became one of the Five Great Shrines of Benzaiten of Japan because of the syncretism of Shintoism and Buddhism, in which Ichikishimahime no Mikoto, one of the three Munakata goddesses, was equated with Benzaiten, and because of the influence of Daikinji Temple, which controlled the shrines on Kinkazan.

This drawing illustrates the shrine pavilions of Nakatsu-miya (formerly Uenomiya) of Enoshima Shrine. Even after the shrine became Enoshima Shrine, Enoshima was still crowded with worshippers. Ukiyo-e of the Edo period depicted the Enoshima Iwaya and the abalone catching, but almost none of the compositions directly depicted the three shrines of Enoshima. However, after　the start of the Meiji period, compositions that focused on the Enoshima island, such as those looking into the island from the Enoshima shrine and torii gate also appeared.

Utagawa Kunisada (Toyokuni III) and Utagawa Hiroshige II 1862 The woman in the picture was illustrated by Kunisada (Toyokuni III) and the background landscape was illustrated by Hiroshige II. On the way to Enoshima Island, a woman enjoys smoking and views the ocean from Shichiri-ga-hama Beach. The woman covers her hair with a tenugui (Japanese towel) and wears a bigger size yukata (casual summer kimono) for a dust cover. Her outfit was the typical fashion to prevent travelers to Enoshima, who had to walk on the beach, from sand and dust.

Utagawa Kuniyoshi 1804-18 This works part of a series of works by Kuniyoshi, one of the most popular ukiyo-e artists of the late Edo period, that depicts each of the Seven Gods of Good Fortune as a woman. The objects associated with the Seven Gods of Good Fortune depicted in the back right corner of the picture are each rendered as if they were the possessions of the woman in the foreground. The subject of this work is Bishamonten. The woman in the foreground is holding a shogi piece called a lance. The lance piece can only move forward, but cannot move backward. This is the role　of suggests Bishamonten`s messenger the centipede, which also cannot retreat.

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