SEE: https://ja.ukiyo-e.org/image/loc/01325v Description: The composition presents Mount Fuji rising calmly in the distance, framed by a towering pine tree and a Shinto torii gate. In the foreground, travelers on horseback and on foot animate the landscape, while cherry blossoms signal a seasonal transition. The elevated viewpoint and balanced spatial layering reflect late Edo–Meiji landscape aesthetics, blending sacred geography with everyday travel scenes. Compared to Hiroshige I’s Fuji series, this later interpretation emphasizes narrative detail and clearer outlines, offering a quieter, contemplative vision of Fuji as both a spiritual symbol and a constant presence in regional life. Author: Utagawa Hiroshige 歌川 広重 (1797 – 12 October 1858), was a Japanese Ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the Tōkaidō and for his vertical-format landscape series One Hundred Famous Views of Edo. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). Kodama Matashichi was a Meiji-period ukiyo-e publisher based in Nihonbashi, Tokyo. He is known for producing works by artists such as Yamazaki Toshinobu, Yōshū Chikanobu, and Kobayashi Kiyochika. Kodama’s publications include landscapes, beauty prints, and war triptychs, notable for their refined printing and delicate color gradations. His collaborations with Toshinobu on the Thirty-Six Views of Mount Fuji exemplify the high craftsmanship and transitional aesthetic between traditional ukiyo-e and the emerging Meiji modern style.