The heroine Umekawa in the play "Meido no Hikyaku"

This second print of Umekawa from Chikamatsu's Meido no Hikyaku indicates that Tsunetomi returned to the heroine more than once, a pattern consistent with how Osaka artists treated familiar theatrical figures. The play, which dramatizes the courier Chubei's theft and his flight to the snowbound village of Ninokuchi-mura with the courtesan Umekawa, provided source material for image-makers because of its emotional climaxes and the visual contrast between the pleasure-quarter setting and the rural escape. Tsunetomi's two treatments likely depict different moments or compositional approaches: one might isolate the figure as a half-length study, while another could place her within an interior or landscape that signals the play's narrative arc. The print would have employed standard mokuhanga techniques on washi—keyblock impression for the linework, multiple color blocks pulled with a baren, and bokashi gradation for atmospheric passages. The recurrence of Umekawa across Tsunetomi's prints reflects the centrality of Osaka's theatrical culture to his artistic identity, distinct from the courtesan imagery of earlier ukiyo-e.