This depiction of Mount Fuji amid the splendor of spring was produced by Hokusai in his forties, when he went by the name Gakyojin (“madman of painting”). Unlike ukiyo-e for the general market, this print was a privately commissioned edition for connoisseurs, and is distinguished by its refined palette and the use of techniques such as karazuri (uninked embossing that creates subtle raised textures). Very few copies survive, making it a little-known treasure.

This print depicts Koganei Bridge over the Tamagawa Aqueduct and the rows of cherry trees along its banks, in what is now Koganei, Tokyo. Koganei was cherished by literary figures as a quiet destination for cherry blossom viewing on the city’s outskirts. The soft colors of a spring evening sky are beautifully rendered using the bokashi (gradation) technique.

Goten-yama in Shinagawa was a celebrated cherry blossom spot overlooking a shallow expanse of sea. Hokusai brings the festive bustle of blossom viewing to life through finely rendered figures. A white Mount Fuji stands quietly against the sweeping indigo of sky and sea, while the pale pink blossoms lend the scene a buoyant charm, making this one of the most popular prints in the Thirty-six Views of Mt. Fuji series.

This ambitious composition by Hiroshige depicts the spring landscape of Arashiyama in Kyoto from a bird’s-eye view, with the Katsura River running through the center. The contrast between the distinctive hue, known as “Hiroshige blue,” of the river’s surface and the pink of the cherry blossoms is striking. Subtle details such as a thin trail of smoke rising from a boat and petals scattering on the water evoke the warmth of the spring sun and the breeze on the river.