View of Mt.Fuji

View of Mt.Fuji shows Fujita engaging the most heavily depicted motif in Japanese print history — a subject treated by Hokusai, Hiroshige, and later shin-hanga masters such as Hasui and Yoshida — and reframing it through his contemplative, reductive sosaku-hanga vocabulary. Rather than the dramatic weather effects or topographical specificity of the meisho-e tradition, Fujita's Fuji is likely rendered as a simplified silhouette: a single conical mass set against horizontal bands of foreground and sky, with color held to a few flat fields keyed by the natural tone of the washi. The sharpness of edge typical of his cutting would be tempered by deliberate bokashi along the mountain's slope or at the horizon, registering atmosphere without modeling. Self-drawn, self-carved, and self-printed in keeping with sosaku-hanga principles, the print situates Fuji within Fujita's broader project of distilling Japanese landscape — forests, fields, coast, and mountain — to essential geometry, treating an iconic subject as another form to be reduced rather than monumentalized.