Crossing the century mark, the one hundred and first iris in Sugiura Kazutoshi's series represents an artistic commitment of unusual duration and intensity. Few postwar Japanese printmakers sustained such a focused single-subject project, and the triple-digit entries show an artist who had moved well beyond technical problem-solving into something more like philosophical inquiry through image-making. The hana-shōbu (花菖蒲) at No. 101 has shed any residual botanical literalism in favor of a presence that is simultaneously recognizable as an iris and fully abstracted into color and form.