At the end of the sea of clouds

This second sheet titled At the End of the Sea of Clouds offers a variant treatment of the same unkai subject, allowing direct comparison of two passes through a shared compositional idea. Hagiwara, like other sosaku-hanga printmakers, often returned to a motif across multiple prints, adjusting block sequence, pigment density, or bokashi placement to test how slight changes alter the atmospheric register of the final image. Where the first version may emphasize the broad horizontal of the cloud sea, this iteration likely shifts the balance — perhaps deepening the lower band, opening the upper field, or introducing a new tonal accent that re-centers the eye. The technique remains characteristic: many separately carved blocks, each contributing a translucent film of pigment to washi, with the wood's grain and the carver's mark legible beneath the layered color. Such pairings document Hagiwara's working method, in which the print is treated less as a fixed edition than as an evolving object of inquiry, and connect his abstract landscapes to the long Japanese tradition of variant views on a single recognized scene.