One way to appreciate woodblock prints is to frame it as a picture on the wall. Another way is feel and imagine how the piece was created by holding it up to the light, sniffing its distinctive scent, and touching it to examine the bumps and marks made by the woodblock. One example by Takahashi is her impressively original composition of Hokusai’s “The Great Wave off Kanagawa.” The impact of the monstrous waves are emphasised with hollow carvings, and the splashes are represented with swellings on the surface of the paper created by pressuring the paper which was pushed with the baren in a depressed way from its backside. Her representations of Utagawa Hiroshige’s “One Hundred Famous Views of Edo” allow us to feel the customs and scenery of ancient times while comparing them with scenes of modern Tokyo. And her “Masu Masu” which offers a glimpse of each of Hokusai’s Thirty-six Views of Mount Fuji built inside a cypress box, lets us enjoy Edo woodblock prints more intimately.