Rain in Miyajima

This print depicts Itsukushima, the shrine island in Hiroshima Bay, under rainfall — almost certainly framing the vermillion torii standing in the tidal shallows, the most reproduced motif in Japanese landscape printmaking. Rain subjects placed particular demands on the carver and printer: the diagonal lines of falling water required separate keyblocks, and the wet surfaces of stone, water, and lacquered timber each called for distinct ink densities to register the diffusing light. Okumura's atmospheric sensibility, refined through his snow scenes, translates readily to rain, where [bokashi](/glossary/bokashi) gradation across the sky and water surface dissolves the boundary between sea and atmosphere. The Unsodo workshop's exacting [baren](/glossary/baren) work would have been essential for the soft tonal transitions across the wet, overcast palette. Within the [shin-hanga](/glossary/shin-hanga) treatment of [meisho-e](/glossary/meisho-e) subjects, Miyajima recurs frequently — Hasui and Yoshida both produced versions — and Okumura's contribution distinguishes itself through the painter's restraint he brought from nihonga, favoring tonal nuance over chromatic display.