The wood-cutter drawing water from the Yoro waterfall with filial piety

A second Gekko treatment of the Yoro waterfall legend may present an alternate compositional solution to the same narrative subject: a closer view of the woodcutter, a different vantage on the cascade, or a variant figure study suited to a different series format or publishing context. Gekko produced prints for multiple publishers across formats ranging from large oban triptychs to smaller single-sheet designs, and a repeated subject in two distinct prints suggests either serial publication or a revised composition prepared for a new edition. Both prints engage the legend's visual requirements—the imposing natural waterfall, the solitary figure conveying reverence and labor, the vessel that will carry the sacred water home. The waterfall format favors vertical orientation, allowing the cascade to occupy a significant portion of the block while the figure registers at lower scale. Gekko's line work, informed by his training in Kanō and Shijō traditions, gives his figures a sense of physical presence within the landscape setting.