É ilustrada a cena de pessoas reunidas em frente ao portão Torii do Santuário Sengen, no portão Subashiri do Monte Fuji, localizado no lado leste direito do Monte Fuji. As figuras ilustradas são os guias dos sendatsu da montanha, que usam trajes brancos, chapéus de palha e rosários. Estão prestes a guiar os escaladores. Algumas pessoas transportam as caixas atadas às costas e nelas estão os gosampuku (três pergaminhos sagrados). Gosampuku são os três pergaminhos pendurados que são exibidos no santuário quando as pessoas consagram Deus após escalar o Monte. Os três pergaminhos eram constituídos por Ominuki, o pergaminho que expressa a visão do mundo de Fuji Shinkou (crença que trata o Monte Fuji como uma personificação de deus), um retrato de uma divindade Konohana Sakuya Hime no Mikoto consagrada no Santuário Sengen, e o retrato de outra divindade 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.

Esta é uma cópia do pergaminho da Lenda da Flor de Pessegueiro de Yuju Nembutsu. Mostra as origens e virtudes de Yuju Nebutsu juntamente com a biografia de Ryonin Shonin, o fundador da escola Yuju Nebutsu do budismo japonês. Yuju-Yeombul é o ensinamento de que se recitar a oração do Buda oralmente, o eu, os outros e todas as coisas estarão em harmonia através da virtude do Buda, e este mundo tornar-se-á uma terra pura. Muitos manuscritos foram criados para divulgar os ensinamentos de Yuju Nembutsu. A obra exposta é uma cópia do pintor japonês Ikai Shokoku (1881-1939) de Quioto.