Utagawa Hiroshige Koyurugi Misaki (Cape Koyurugi) is depicted on a “Chuban: a slightly smaller sized paper”. At the summit of Cape Koyurugi, pine trees are captured as if they are falling into the sea, and the upper part of the Cape’s rock is also hanging out over the sea; however, this was originally suggested by Hiroshige I. In his series there are ten beautiful scenes, each of them illustrating fine views of Japan. For Hiroshige I Enoshima Island, Mt. Fuji and Cape Koyurugi captured2 in a single image must have been one of the ten most beautiful views.

Artist: Utagawa Hiroshige In the very small picture, with its width 16.8cm and its height 11.2cm, the Enoshima Island looked over from Shichiri-ga-hama Beach is illustrated. This small size ukiyo-e picture is called mame-ban (bean size). This work was almost same size to divide the kobousho size (approximately 47x 33cm) into eight pieces. The steep cliff illustrated in front is considered as Koyurugi Cliff. The name of the Koyurugi Cliff (Cliff that moves a little) came from the pine trees planted at the top of the cliff since they swing even there is no wind blowing.

Utagawa Hiroshige 1858

Katsukawa Shunshou The production date: 1781-1789 (Tenmei era) Shunshou’s landscape print is rare and he uses special perspective technique uki-e to express the landscape. In this picture, Enoshima Island was illustrated as an analogue of Mt. Hourai (Mt. Penglai) of ancient Chinese mythology. Situating Mt. Fuji on the right, the cloud illustrated in vermillion suggests the sunrise, and over all, the whole scene produces an auspicious feeling. The depiction of shadows of the pilgrims walking toward the Enoshima Island is also very rare and made this work extraordinary.

Shibata Zeshin Production date:1868－1911 Enoshima Island and the sandbar to Enoshima Island, subana are illustrated. A palanquin and straw hats illustrated at the foreground enhance the traveler’s sentiment. Shibata Zeshin(1807－91), the artist who illustrated this picture, first learned the technique of maki-e (technique to decorate lacquer ware with gold) from Koma Kansai, learned the Maruyama style painting from Suzuki Nanrei and became a pupil of Okamoto Toyohiko, a Shijou style artist of Kyoto.

Katsukawa Shunkou II Publisher: Tsuruya Kinsuke This work illustrated the people walking on Shichiri-ga-hama Beach. In the works of illustrating the travelers to the Enoshima Island, women are usually illustrated as travelers and men are illustrated as porters or palanquin-bearers, and this picture follows the typical style. The style illustrated the idealized world of ukiyo-e, but Enoshima Island was actually a very popular traveling site for women.