Commemorating a Decade: Hokusai and Hiroshige－Two Maestros, Two Visions of Mount Fuji

The exhibition is on view from June 23 to August 30, 2026 at the Sumida Hokusai Museum.

Katsushika Hokusai (1760-1849) is a world-widely acclaimed ukiyo-e artist, producing works from Mount Fuji series with bold compositions filled with dynamic depictions and fantastic ideas.

Utagawa Hiroshige (1797-1858) is also a world-widely renowned ukiyo-e artist, producing landscape paintings presenting realistic and atmospheric meisho-e (pictures of famous places).

Commemorating a decade since the Sumida Hokusai Museum opened,

the exhibition showcases Hokusai's famous Thirty-six Views of Mount Fuji series, alongside Hiroshige's complete Thirty-six Views of Mount Fuji series, his second Thirty-six Views of Mount Fuji series, and some prints from One hundred Famous Views of Edo.

You can encounter the distinct artistic visions of Hokusai and Hiroshige

by comparing works depicting the same locations or similar compositions.

Introduction: The People of Edo’s Fuji

A Panoramic View Alive with the Bustle of Fuji Pilgrims

Utagawa Kuniteru II, Pilgrims Climbing Mount Fuji, (1865), Yamanashi Prefectural Museum (1st term)

Surprising, isn't it? Look at how many pilgrims are heading for Sengen Taisha Shrine on Mount Fuji. The climbing season used to start on the first day of the sixth month of the lunar calendar. On that day, people would get up very early in the morning, light incense sticks beneath their eaves of their houses, and worshipped Mount Fuji from far places.

They usually purchased waraja, straw talismans shaped like snakes to protect them from disasters during their climb.

Fuji-kō devotion groups became incredibly popular among the common people in Edo. These neighborhood groups made it much easier for residents to go pilgrimages to Mount Fuji and its related sacred places, as members would often pool their money to fund the trips.

Through this section you can appreciate how deeply the people in Edo were devoted to Mount Fuji.

Section 1: Hokusai's Fuji

This section displays entire Thirty-six Views of Mount Fuji series, spotlighting Hokusai's choices of locations and compositions.

Hokusai (1760-1849) produced this famous series in his seventies. Though originally titled Thirty-six Views, it was eventually expanded to forty-six prints, featuring bold compositions filled with dynamic depictions and innovative, imaginative ideas.

One of the key elements of these prints was his use of Berlin blue, known as Prussian blue, a vibrant synthetic pigment invented in early 18th century Berlin.

The series became very popular among Fuji-kō groups, (Mount Fuji devotional societies), which motivated the publisher, Nishimuraya Yohachi, to print numerous editions.

Together, these unique elements attracted people of Edo and boosted the massive popularity of the series.

Capturing the fleeting moment

when the rising sun tints Mount Fuji red

Katsushika Hokusai, A Mild Breeze on a Fine Day, from the series Thirty-six Views of Mount Fuji, (c1831), The Sumida Hokusai Museum (all terms)※

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Mount Fuji rises majestically amid two opposing

skies-clear blue and a rolling thunderstorm

Katsushika Hokusai, Rainstorm Beneath the Summit, from the series Thirty-six Views of Mount Fuji, (c1831), the Sumida Hokusai Museum (all terms) ※

A Striking composition built around repeated triangular forms

Katsushika Hokusai, In the Mountains of Tōtōmi Province, from the series Thirty-six Views of Mount Fuji, (c1831),

A Striking composition built around

a half-circle with a triangular form

Katsushika Hokusai, Waterwheel at Onden, from the series Thirty-six Views of Mount Fuji, (c1831), Yoshino Sekko Collection on loan to the Sumida Hokusai Museum

*This image was taken by Michi at the press preview

Section 2: Hiroshige's Fuji

Utagawa Hiroshige (1797-1856) was highly acclaimed for his Fifty-three Stations of the Tōkaidō Road, published by Hōeidō in 1833 and 1834 and One Hundred Views of Edo, published in 1856 to 1858.

He also produced two Mount Fuji series, both titled Thirty-six Views of Mount Fuji during his career. The first was published in 1852, while the second was created during the final year of his life in 1858 and published posthumously in 1859.

This section showcases materials that defined his meisho-e (famous-place prints), you can explore these works depicting mount Fuji, which highlight his characteristic choice of locations, unique compositions, and poetic expressions.

A Hiroshige masterpiece that inspired Van Gogh!

Utagawa Hiroshige, Sagami River, from the series Thirty-six Views of Mount Fuji, (1859), Machida City Museum of Graphic Arts (1st term)

*This image was taken by Michi at the preview.

Mount Fuji appearing almost like a blooming garden

Utagawa Hiroshige, Ōtsuki-no-Hara in Kai Province, from the series Thirty-six Views of Mount Fuji, (1859), Machida City Museum of Graphic Arts (2nd term)

Hiroshige's depiction of an artificial Mount Fuji

Utagawa Hiroshige, The New Artificial Fuji in Meguro, from the series One Hundred  Famous Views of Edo, (1857), Tokyo University of the Arts (1st term)

Section 3: Hokusai and Hiroshige: Two Maestros, Two Visions of Mount Fuji

This section highlights the creative dialogue between two maestros, exploring the contrasting artistic visions of Hokusai and Hiroshige. It traces how Hokusai's bold innovations initially influenced Hiroshige's work and follows the process through which Hiroshige evolved to establish his own legendary, atmospheric style.

Featured Series:

•Hokusai’s Thirty-six Views of Mount Fuji, (c1831),

•Hiroshige's Thirty-six Views of Mount Fuji, (c1852)

•Hiroshige's second Thirty-six Views of Mount Fuji, (1859)

•Hiroshige's One Hundred Famous Views of Edo, (1856-1859）

Through these iconic series, you can explore and contrast the distinct visions of Hokusai and Hiroshige.

The working people of the region create a vivid sense of place

Katsushika Hokusai, Ōno-shinden in Suruga Province, from the series Thirty-six Views of Mount Fuji, (c1831), The Sumida Hokusai Museum (2nd term)

A monumental Mount Fuji extending beyond the frame

Utagawa Hiroshige, The Fuji Marsh in Suruga Province, from the series Thirty-six Views of Mount Fuji, (c1852), Ota Memorial Museum of Art (2nd term)

You can discover how Hokusai profoundly influenced Hiroshige's depiction of waves.

The Impact of the Great Wave!

Katsushika Hokusai, Under the wave off Kanagawa, from the series Thirty-six Views of Mount Fuji, (c1831) Yoshino Sekko Collection on loan to the Sumida Hokusai Museum (all terms) ※

Boldly Evolving Waves

Utagawa Hiroshige, The Sea at Satta in Suruga Province, from the series Thirty-six Views of Mount Fuji, (1859), Machida City Museum of Graphic Arts (1st term)

While influenced by Hokusai,

Hiroshige maintains his own distinct style

Utagawa Hiroshige, Wind and waves at Shichirigahama Beach in Sagami Province, from the series Thirty-six views of Mount Fuji, (c1852), Yamanashi Prefectural Museum (2nd term)

※The works will be replaced with different print of the same title during the period.

For more information, please access here.