Mount Haruna in Kozuke Province

Mount Haruna in Kozuke Province, dated about 1830 in the Cleveland Museum of Art's records, occupies an unusual place in Kikukawa Eizan's oeuvre because it is a landscape — a category Eizan engaged only rarely. Mount Haruna, a volcanic peak in what is now Gunma Prefecture, was a long-standing pilgrimage destination known for its lake-filled crater and its shrine. The 1830 dating places this design at a period when the landscape print, propelled by Katsushika Hokusai's Thirty-six Views of Mount Fuji and Utagawa Hiroshige's emerging series, was rapidly reshaping the [ukiyo-e](/glossary/ukiyo-e) market. Eizan, by then in the later phase of his career and the head of an established Kikukawa school, appears to have ventured into the landscape genre in response to changing demand. His drawing of the mountain retains traces of the [bijin-ga](/glossary/bijin-ga) style: the contour lines are calligraphically inflected, the printing of distance is articulated in soft tonal bands, and the composition is held together by an attention to balanced silhouette rather than by the geometric construction Hokusai favored. The print therefore offers a useful index of how the leading Edo bijin-ga master adapted, or chose not to adapt, to the new landscape vogue. The Cleveland Museum of Art's record for the sheet may be consulted at https://clevelandart.org/art/1943.35, where it is held as part of the museum's broader Eizan collection.