「日本万歳 百撰百笑」「地獄の大繁昌 骨皮道人」

This print shares its caption, 'Hell's Great Prosperity,' with another sheet in the Nippon Banzai: Hyakusen Hyakushō series, indicating Kiyochika returned to the same satirical premise — the Buddhist underworld overwhelmed by an influx of defeated Chinese soldiers — across multiple compositions. Published under the pen name Honekawa Dōjin during the First Sino-Japanese War, the design likely varies from its companion sheet in compositional details, cast of characters, or the particular battle referenced in accompanying text. Hell scenes in Japanese popular imagery drew on the tradition of jigoku-e (hell paintings), with demons, the River Sanzu, and Emma-ō as judge rendered in a register that audiences would recognize while the caricatured Chinese figures subverted the solemn iconography into comedy. The flat color palette and bold ink outlines of these prints were suited to rapid production and wide distribution as wartime popular media.