Small woodblock print, page 20 from Shin Nihon kenbutsu

Page 20 of Shin Nihon kenbutsu (New Sightseeing of Japan) sits in the earlier section of Ishikawa's bound book of landscape woodblock prints, a publication that placed his small-format work within the modern meisho-e tradition. The book context shaped the print itself: smaller block sizes, fewer color impressions than a full oban sheet, and a composition designed to register at handheld scale across a page opening rather than from across a room. Within those constraints Ishikawa applied the conventions he learned in yoga oil painting — solid form, structured perspective, modeled tonal mass — translated through the carver's lines and the printer's layered impressions on washi, with bokashi handling sky and water gradations. The Shin Nihon kenbutsu plates collectively document a working mode quite separate from his nude figure prints: a topographic, regional pictorialism in which Ishikawa engaged with the same landscape vocabulary used by Hasui and Hiroshi Yoshida, but published as book illustration rather than as collector sheets.