Moon

Moon pares Kojima's iconography to a single celestial subject. The tsuki has been a primary motif in Japanese poetry, painting, and print since at least the Heian period — from Hiroshige's meisho-e to Yoshitoshi's One Hundred Aspects of the Moon. The composition likely centers on a circular form against an unmarked ground, its presence either rendered through the white of the paper itself or, in inversion, as a pale disc set against the deep black field characteristic of Kojima's palette. Lithography permits absolute precision of the disc's edge and the smooth fields the composition requires, and the medium's printed surface — flatter than the absorbent washi of mokuhanga — reinforces the image's graphic stillness. The treatment situates Kojima within the postwar lineage of Japanese printmakers who pared traditional subjects to near-abstract forms while retaining their cultural reference points. Whether the moon is shown clear, partial, or accompanied by a small motif outside the disc, the work draws its weight from extreme reduction, in keeping with Kojima's broader inclination to let traditional symbols function as composed visual structures.