Mountain lake

A second treatment of the mountain-lake motif, distinguishable as a separate composition rather than a reprinting. Ono frequently produced multiple variants of a landscape subject, each block re-cut to test alternative framings — a closer foreground, a higher horizon, a single dominant peak set against a chain. The print likely uses a restrained palette of two or three colors typical of his postwar landscape work: an indigo or teal water plane, a mineral-green or umber mountain mass, and [washi](/glossary/washi) left bare for sky or atmospheric haze. The compositional language belongs loosely to [meisho-e](/glossary/meisho-e) — pictures of celebrated places — but rendered through the [sosaku-hanga](/glossary/sosaku-hanga) sensibility of flat color planes and visible carving rather than the descriptive recession of nineteenth-century landscape printmaking. The variant points to Ono's habit of working through a subject across multiple states rather than fixing it in a single edition.