In the context of View of Tenpōzan Park in Naniwa, analyze the Genre of the Print details.
The red rectangular cartouche occupying the upper right corner of the first panel reads: Naniwa/ Tempōzan fūkei. This title clearly identifies the tetraptych series as belonging to the landscape genre of ukiyo-e prints, known as fūkeiga.   
In the early years of ukiyo-e, landscapes were not a popular subject, being a “far less dominant” genre than images of actors, beauties or everyday life scenes. In early prints, landscape was “a prop” or backdrop to the human content of the picture. As art historian Tadashi Kobayashi notes, “Landscape ukiyo-e prints by their very nature usually reflect the artist’s conception of natural settings as a stage upon which human scenes are enacted.” This is evident in these two prints by Sadamasu, where the landscape provides the impetus and scene for the human action dominating the image.
By the end of the first half of the nineteenth century, landscapes had “eclipsed” bijinga, shunga and kabuki-e as the major strain of ukiyo-e. Partly as a result of the increasing influence of western art, landscape became a pictorial theme in and of itself, such that Hiroshige had established himself by the mid-1830s as a producer of landscape prints.
bijinga tetraptych ukiyo-e Tempō Tempōzan shunga