Roses

Roses sits within Tokuriki's [kacho-e](/glossary/kacho-e) (bird-and-flower) practice, although the choice of a Western flower departs from the irises, plums, and chrysanthemums that dominate the older Edo-period tradition. Twentieth-century Japanese printmakers regularly absorbed European subjects, and Tokuriki used roses to test how mokuhanga technique could render the layered, overlapping petals and softer color transitions of a non-traditional bloom. The composition is likely centered on a few stems isolated against a flat background, a format borrowed from Hokusai's and Hiroshi Yoshida's flower studies. [Bokashi](/glossary/bokashi) gradations along each petal create volume, while the keyblock outlines the leaf veins and stem structure with restrained precision. Multiple impressions from carefully registered cherrywood blocks build the depth of red or pink tones that roses require. Within Tokuriki's broad output of several thousand prints, his flower studies form a quieter counterpart to the densely populated Kyoto temple scenes, showing the technical range he could apply to a single isolated subject.