Se ilustra la escena de personas reunidas frente a la puerta Torii del Santuario Sengen en la puerta Subashiri del Monte Fuji, ubicada en el lado este derecho del Monte Fuji. Las figuras ilustradas son los guías del sendatsu de montaña, que visten trajes blancos, sombreros de paja y rosarios. Están a punto de guiar a los escaladores. Algunas personas llevan las cajas atadas a la espalda y los gosampuku (tres pergaminos sagrados) están en ellas. Los gosampuku son los tres pergaminos colgantes que se muestran en el santuario cuando las personas consagran a un dios después de escalar el Monte Fuji. Los tres pergaminos consistían en Ominuki, el pergamino que expresa la cosmovisión de Fuji Shinkou (una creencia que trata al Monte Fuji como una encarnación de dios), un retrato de una deidad Konohana Sakuya Hime no Mikoto consagrada en el Santuario Sengen, y el retrato de la otra deidad Komitake.

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.

Este es un manuscrito de los Rollos Ilustrados de la Leyenda del Yūzū Nembutsu. Ilustra el origen y las virtudes del Yūzū Nembutsu, junto con la biografía de Ryōnin Shōnin, fundador de la escuela Yūzū Nembutsu del budismo japonés. El Yūzū Nembutsu es una enseñanza que sostiene que la recitación oral del Nembutsu crea armonía entre uno mismo, los demás y todas las cosas por la virtud de Buda y convierte este mundo en la Tierra Pura. Se realizaron muchos manuscritos para difundir la enseñanza del Yūzū Nembutsu. La obra expuesta es un manuscrito de Ikai Shōkoku, pintor de estilo japonés de Kioto (1881-1939).