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 Utagawa Kunisada (Toyokuni III) ilustró la mujer en el primer plano y Hiroshige II ilustró el paisaje de fondo, es una obra de dos artistas. Se ilustra una mujer fumando y contemplando el mar desde la playa de Shichiri-ga-hama en el camino a la Isla de Enoshima. La mujer cubre la cabeza con una toalla japonesa tenugui y usa un yukata (kimono casual) de talla grande para evitar arena y polvo en la playa, que era la moda típica de las visitantes de la Isla de Enoshima en la Era Edo. Esta obra se llama “uchiwa-e”, estampado para abanicos redondos. La gente de la Era Edo compraba estos uchiwa-e, y cambiaban los papeles del abanico según la moda del año. Como uchiwa-e es de uso práctico, es una de las pocas obras valiosas existentes.

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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