Scene from 36 views of Mt.Fuji

The title invokes Hokusai's Thirty-six Views of Mount Fuji (Fugaku Sanjūrokkei, c. 1830-32), the canonical series that established Fuji as a print-cycle subject. Koizumi's print reads as homage or extension rather than reproduction -- a single design among his own variations on the established theme. The composition likely positions Fuji indirectly: framed by a foreground element (a road, bridge, building, or grove) in the manner Hokusai standardized. Self-printed mokuhanga allowed Koizumi to apply Western-trained tonal modeling to a subject historically rendered in flat color, a hybridization characteristic of his bridge between shin-hanga subject matter and sōsaku-hanga production. The print sits alongside Fresh snow on Mt. Fuji and his Tokyo views as evidence that Koizumi treated Fuji not as exotic icon but as a fixed feature of the lived landscape -- visible from much of interwar Tokyo on clear days.