Wind

A second Wind print from Ono's mokuhanga output, working the same subject as a separate composition rather than as an edition variant. Ono frequently revisited motifs across years and blocks, and three sheets sharing the title Wind suggest an ongoing study in which each print pursues a different solution to the same problem of rendering an invisible force. Compositional devices common to this kind of subject include strongly directional grain, asymmetric weighting toward one edge of the sheet, and contrast between solid printed area and reserved washi. As a sosaku-hanga artist, Ono cut and printed his own blocks, and the tactile evidence of the baren — the disc-shaped tool used to burnish ink from block to paper — would be intentionally legible in the printed surface. The work sits alongside his historical writings on Japanese creative printmaking, in which he argued for the woodblock as a medium of personal expression rather than reproductive craft.