“Autumn wind”

"Autumn wind" reads as a study of motion in a still medium — branches stirred, leaves caught mid-flight, or grasses bending across a country lane. Mibugawa renders such effects through compositional cues rather than gestural marks, since each colour pass is fixed by the carved block: the suggestion of wind comes from leaning verticals, scattered colour fragments, or a single unbalanced diagonal. The palette is likely his familiar pastel register — muted vermillion, ochre, soft slate — printed in successive bokashi washes on washi pressed by hand with a baren. Working out of the Kyoto Unsōdō workshop he joined in 1997, Mibugawa returns repeatedly to seasonal countryside subjects of this kind, treating them with the meisho-e impulse toward place, but stripped of the named-location convention that defined Edo-period landscape printmaking. The result sits closer to mood study than topography.