Flying

The abstract title suggests motion or birds in flight rather than a specific topographical subject, marking this print as more conceptual than Fujita's typical landscape work. The composition likely employs sparse forms—possibly stylised silhouettes against an open ground—where the relation between mark and unprinted [washi](/glossary/washi) carries the visual weight. This compositional restraint is consistent with Fujita's broader approach, in which landscape elements are pared to essential geometries and large areas of paper are left to function as positive space. The [sosaku-hanga](/glossary/sosaku-hanga) ethos governing his practice—self-drawn, self-carved, self-printed—gives him direct control over the timing and pressure of each impression, allowing slight asymmetries that animate the surface. Without identifiable place, the print operates closer to graphic abstraction, reflecting his earlier training in oil painting at Musashino Art School and his years working as a graphic designer in Tokyo before he committed fully to mokuhanga around 1963.