THIRTY-SIX VIEWS OF FUJI, "MOTOGUCHIDORI"

Motoguchidori, from a Thirty-Six Views of Mount Fuji by Utagawa Hiroshige, joins his late landscape print engagement with the sacred mountain that had also captivated Hokusai. Hiroshige's own Fuji set, issued at the end of his life, paid homage to and competed with Hokusai's earlier Thirty-Six Views, treating Fuji from a wide range of geographic vantages and seasonal moods. Motoguchidori, a place on or near a Fuji approach, gives Hiroshige a vantage that brings together travelers, road, and mountain in a single composition. As Edo [ukiyo-e](/glossary/ukiyo-e), the print exemplifies the mature Hiroshige idiom: foreground figures with porters and pack horses, a winding road that organizes the middle distance, layered hills under a blue gradient sky, and Fuji itself rising in a clean silhouette against the upper register. The synthetic blue that came into Japanese printmaking in the 1830s is used confidently across the heavens and the snowfields of the cone, and Hiroshige's eye for travel detail gives even the smallest figure narrative weight. The Harvard Art Museums impression preserves the series' careful printing and registration, and it places Hiroshige firmly within the long Edo print tradition of Fuji imagery while also marking his particular contribution: a humane, traveler's view of the mountain, set within a landscape print vocabulary that prefers ease and atmosphere to virtuoso spectacle.