Windswept seashore at Kôtsuke

A coastal view treated under conditions of weather and motion, the title indicating a moment of wind rather than a static scene. Sasajima's carving language, developed through years of cutting Buddhist temple blocks, translates sea and shore into bold dark masses — likely rocks or breakers rendered as solid planes against fields of paler ink or reserved paper. [Bokashi](/glossary/bokashi) gradation suits such a subject, allowing the transition between sky and sea to register as a band of modulated tone. Sasajima followed [sosaku-hanga](/glossary/sosaku-hanga) principles throughout his career, designing, carving, and [baren](/glossary/baren)-printing every impression himself on [washi](/glossary/washi). His teacher Onchi Koshiro had championed this self-sufficient method as essential to creative printmaking, distinguishing the artist-printmaker from the Edo-period workshop artisan whose role was confined to a single stage of production. The seashore subject extends Sasajima's landscape practice beyond his more usual concerns — Buddhist architecture and inland scenes — to the coastal periphery, treated with the same sculptural weight he brought to mountain temples and forest paths.