A woman

"A woman" is unusual within Hiratsuka's predominantly landscape and architectural output. Figural subjects appear sparingly in his catalogue, and when they do, they share the geometric clarity and knife-edged line of his temple and townscape prints rather than the curving brush-derived contours of ukiyo-e bijin-ga. The likely treatment reduces drapery, hair, and physiognomy to flat black areas and crisp white reserves, with the carved grain of the woodblock often left visible to lend texture. As a founding figure of the sosaku-hanga movement, Hiratsuka rejected the division of labor that characterized commercial Edo-period printmaking; the figure here would have been drawn, cut, and pulled by his own hands. The subject is presented without the narrative apparatus of pleasure quarters or theatrical scenes that anchored earlier traditions — closer in spirit to the single-figure studies of his contemporaries Onchi Kōshirō and Munakata Shikō. Printed on washi with a baren, the work represents Hiratsuka's effort to integrate the human figure into a visual language he had developed largely through depictions of stone, timber, and water.