This is a picture anthology of famous shrines and temples of Japan. Zenkoji Temple is selected as Shinshu Province’s representative temple and Enoshima Island is selected as Sagami Province’s representative Shrine. The chemical pigments of deep red and purple are extensively used in these pictures.

Kitagawa Hidemaru 1804-18 Two women, followed by a porter, are walking on the beach to the direction of Kamakura. The scenery of Enoshima Island is illustrated in the background. This work is a surimono (privately issued and distributed luxurious print) with a kyōka poem. Unlike typical ukiyo-e prints, this work shows delicate expressions in the printing of the waves as well as its color. Little is known of the artist Hidemaru. He was a pupil of Utamaro and produced many prints of beauties.

This print is the middle portion of a triptych. A man in traveler’s attire and abalone divers are depicted in the image. The words Kaichō¹ on the lanterns behind them suggest that this print was likely published around 1809 when the Sansha Sō Kaichō (Three Shrine Kaichō) was held. This ceremony involved all three shrines of Enoshima Island and only occurred every sixty years. ¹Kaichō is a ceremony of exhibiting private treasure, such as the images of Buddha, in a very limited time. Kaichō are typically held once every few years.)

Utagawa HiroshigeⅡ 1865 The series “Fifty-three Stations of the Tōkaidō” by Hiroshige II are delicately designed works, with the series title in a vermilion frame towards the top of the print. A view of each Tōkaidō post station is depicted within a yellow frame. Hiroshige II created this series taking inspiration from various ukiyo-e series depicting the Tōkaidō created by Hiroshige I, not limited to but including the “Famous Views of the Fifty-three Stations”. This print draws inspirations from the Utagawa Hiroshige I’s “Famous Views of the Fifty-three Stations: Nihonbashi”with similarities in its composition and structure. It was created after Hiroshige II divorced Tatsu, Hiroshige I’s daughter, in 1865. He left the family and began creating works under the name “Risshō.”

Utagawa HiroshigeⅡ 1863 Consisting of ten consecutive prints that create one bird’s eye view of the Tōkaidō Highway, this great work had been created during 14th Tokugawa Shōgunate, Tokugawa Iemochi’s visit to Kyoto. The entire work is made to resemble the shape of a scroll, with the shōgun’s procession depicted with the numerous post stations and famous places, that could be found along the way.

Utagawa Hiroshige 1847-52 Hara post station was the closest station to Mt. Fuji along the Tōkaidō Highway. In order to express the magnificence of Mt. Fuji, the peak of the mountain is illustrated beyond the frame of the composition. Between Mt. Fuji and the highway, a huge swamp stretches out in the foreground.

Utagawa Kunisada (ToyokuniⅢ) 1830-1843 The background landscape is the same composition as “Morning Scenery of Nihonbashi Bridge” from Hiroshige’s Hoeidou edition of the Toukaidou series. In Hiroshige’s work, the scenery of a procession of samurai is illustrated on the bridge. However, in this work, mundane cityscape traffic of ordinary people, such as a two-wheeled cart full of luggage crossing the bridge and a man carrying luggage with a pole are illustrated. On the left back, Mt. Fuji is also illustrated, and the feeling of New Year is enhanced by the lined flying kites. The large-flowered plum design of the woman’s kimono also enhances the mood of New Year season.

Kitagawa Tsukiemaro 1808 This print illustrates people gathering around the cave called Iwaya of Enoshima Island. A feast is taking place at the center of this print and people are eating expensive fish such as tai (sea bream). The flat rocks near the cave were called “Manaita-iwa (lit. cutting board rock)” and having a picnic on the rocks was a trend among pilgrims to Enoshima Shrine. Some people are fishing, while others are asking the sea divers to catch abalone. On the right, some people are entering the cave with a torch in hand.