“Stop to appreciate this breathtaking view of the historic Monkey Bridge, a testament to both human ingenuity and the raw power of nature, rendered with striking verticality and atmospheric depth.”
This dramatic vertical diptych captures the famed Monkey Bridge (Saruhashi) in Kai Province, a marvel of engineering suspended high above a rushing river. The viewer's eye is immediately drawn to the bridge itself, a delicate, almost ethereal structure of interlocking timbers that seems to float unsupported in mid-air. Below, the powerful current of the Katsura River churns through a narrow gorge, its roiling waters rendered with dynamic lines and subtle gradations of ink. The perspective, looking down from a high vantage point, emphasizes the bridge's precarious height and the sheer force of nature it spans. The scene is enveloped in a soft, atmospheric light, enhancing the sense of awe and the sublime beauty of this remote, mountainous landscape. It’s a powerful example of how a familiar subject can be transformed into a breathtaking visual experience.
- Artist
- Utagawa Hiroshige
- Date
- 1841
- Medium
- Vertical ōban diptych mounted as a hanging scroll; ink and color on paper
- Location
- The Metropolitan Museum of Art
- Dimensions
- Overall: 38 3/8 x 13 3/8 in. (97.5 x 34 cm); painting: 28 3/4 x 9 5/8 in. (73 x 24.4 cm)
- Collection
- Asian Art
- Culture
- Japan
- Credit line
- The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
What to Notice
Five details hide in plain sight. Here’s where to look.

The intricate, cantilevered construction of the wooden bridge.
The tiny figures of travelers crossing the bridge.
The swirling patterns of the water in the gorge below.
The distant, mist-shrouded mountains in the background.
1 more detail is waiting.
See all 5 in Art Whisper →Stand in front of it and listen
The full narration walks you through 「甲陽猿橋之図」|The Monkey Bridge in Kai Province (Kōyō Saruhashi no zu) — 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
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Snow Storm: Steam-Boat off a Harbour's Mouth
J. M. W. Turner · 1842 · National Gallery
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
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
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1820s–1850s
The Captive Slave (Ira Aldridge)
John Philip Simpson · 1827 · Art Institute of Chicago
