As mentioned in the artist's biography, there is some confusion about whether Jōkata created one or two series of prints with views of Mt. Fuji.  While a number of sources refer to a ca. 1929 twelve print series of views of Fuji, the only documentation I've seen is for the 1931 twenty-five print series, which includes all twelve prints supposedly making up the 1929 series.  While the author quoted below references the twelve print 1929 series, the words equally apply to the 1931 series.

In the 1920s and 1930s the constituent parts of old and new Japan often collided.  As with writers of the period, print artists frequently focused on this friction between the past and present.  Jōkata Kaiseki's twelve print series Views of Fuji from 1929 ... sights a symbol of traditional Japan through the lens of modernity.  [A]irplanes and power poles are placed alongside such traditional emblems as farmhouses and rural villages.  Kaiseki, an artist known only through this series, was likely familiar with the ukiyo-e tradition.  By "hiding" Mt. Fuji in his compositions, he alludes to Hokusai's classic Thirty-Six Views of Mt. Fuji (Fuji sanjūrokkei) of 1828-1833 in which Mt. Fuji is sometimes viewed through a barrel or from under an arched wooden bridge.  Kaiseki's Mt. Fuji, a symbol of traditional Japan, exists in a world which contains modern elements.1