“Step into a world of supernatural horror as the powerful samurai Kiyomori faces a terrifying vision of vengeful spirits. This woodblock print by Hiroshige uses dramatic imagery and bold composition to depict a moment of intense psychological torment and legendary consequence.”
In this dramatic triptych, the powerful samurai Taira no Kiyomori confronts a terrifying vision. The scene unfolds with a dark, swirling mass of skeletal figures, their bony hands reaching out from the shadows, while a monstrous skull looms above. Kiyomori, depicted in the center, appears both defiant and disturbed, his posture suggesting a struggle against the encroaching phantoms. Hiroshige employs deep, contrasting colors and dynamic lines to heighten the sense of supernatural dread, a stark departure from the tranquil landscapes he often depicted. This print captures a pivotal moment from the legendary tale of Kiyomori, whose hubris and cruelty were said to have led to this spectral torment, a punishment for his past deeds. The intense psychological drama and the vivid portrayal of the supernatural make this a compelling example of ukiyo-e storytelling.
- Artist
- Utagawa Hiroshige
- Date
- 1835
- Medium
- Triptych of woodblock-printed books (nishiki-e); ink and color on paper
- Location
- The Metropolitan Museum of Art
- Dimensions
- 15 x 29 in. (38.1 x 73.7 cm)
What to Notice
Five details hide in plain sight. Here’s where to look.

The skeletal hands emerging from the dark, swirling mass.
The enormous, ghostly skull hovering above Kiyomori.
Kiyomori's defiant yet disturbed expression.
The subtle gradations of color (bokashi) in the shadows.
1 more detail is waiting.
See all 5 in Art Whisper →Stand in front of it and listen
The full narration walks you through 歌川広重画 「平清盛怪異を見る図」|Taira no Kiyomori's Spectral Vision — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Utagawa Hiroshige
1797–1858 · JapanUtagawa Hiroshige, the last great master of ukiyo-e, transformed landscape printmaking with his poetic scenes of Edo Japan and vibrant use of color gradation.
Further Works by Hiroshige
Boat on the Sumida
1817 · The Metropolitan Museum of Art
Small View of Yedo
1817 · The Metropolitan Museum of Art
近江八景之内 唐崎夜雨|Evening Rain at Karasaki-Pine Tree
1822 · The Metropolitan Museum of Art
近江八景之内 比良暮雪|Evening Snow on Mount Hira
1822 · The Metropolitan Museum of Art
西洋風の懐中時計『春雨集』 摺物帖|Western Pocket WatchFrom the Spring Rain Collection (Harusame shū), vol. 3
1823 · The Metropolitan Museum of Art
東海道五十三次之内 江尻 三保遠望|Distant View of Miho Beach from Ejiri
1824 · The Metropolitan Museum of Art
東海道五十三次之内 白須賀 汐見阪図|Shirasuka, Shio-mi Zaka
1824 · The Metropolitan Museum of Art
東海道五十三次之内 神奈川 台之景|View of Kangawa at Sunset
1824 · The Metropolitan Museum of Art
More works to explore
Beyond Hiroshige: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Landscape with a river and a bay in the background
J. M. W. Turner · 1835 · Department of Paintings of the Louvre
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
Same era · 1820s–1850s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
Same era · 1820s–1850s
The Fortune Teller (La Bonne Aventure)
Jacques-Louis David · 1824 · Fine Arts Museums of San Francisco
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1820s–1850s
Saturn Devouring His Son
Francisco Goya · 1820 · Museo del Prado
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
The Captive Slave (Ira Aldridge)
John Philip Simpson · 1827 · Art Institute of Chicago
