This mortal body

The title points toward a figure study with philosophical or spiritual content, a register Fujimori shared with several sosaku-hanga peers who took up existential and mortality-related themes during the 1920s and 1930s. The composition is likely a single human form treated with the simplification of plane and outline that distinguishes self-carved work from the elaborate fabric patterning of traditional bijin-ga. Carving marks and the slight irregularities of hand-pulled impressions would be visible rather than concealed, reinforcing the directness the sosaku-hanga ethos demanded of its practitioners. Sumi-toned linework, a restrained palette, and emphasis on contour over decorative incident would suit such a theme. Within Fujimori's body of work, the print represents his engagement with what the movement's founders had defined from the outset as one of woodblock printing's legitimate subjects: the inner life of the individual artist, expressed through the same blocks, baren, and washi that the medium had historically applied to courtesans, actors, and famous places.