Station thirteen on the Tokaido highway, Hara offered travelers one of the most celebrated frontal views of Mount Fuji, a motif Hiroshige had made canonical in his own Tokaido series. Munakata's interpretation departs radically from that tradition: where Hiroshige's Hara is serene and atmospheric, Munakata's Tokaido prints are compacted, linear, and charged with movement. The subtitle's reference to a line at the foot of Fuji likely indicates a procession or continuous horizontal element across the composition—a characteristic device that Munakata used to generate rhythmic tension. His Fuji, if rendered at all, would appear as a stark mass defined by aggressive gouge lines rather than the delicate bokashi gradations of ukiyo-e landscape printing. The series reinterprets meisho-e as a vehicle for sosaku-hanga expression.
1960
Woodblock print
Shôwa period, 1926-1989
Woodblock print
1939-68
Woodblock print
1939 (printed 1955)
Woodblock print
Wakasa Kugushiko
1920
Color woodblock print; oban
Woodblock print
1934
Color woodblock print; oban
n.d.
Woodblock print; ishizuri-e, section of harimaze sheet
Curated cross-cuts that include this print.
Hara: A Line at the Foot of Mt. Fuji, Munakata's Tokaido Road was created by Shiko Munakata (棟方志功).
Hara: A Line at the Foot of Mt. Fuji, Munakata's Tokaido Road depicts landscapes, mount fuji, and travel scenes.