Mt. Fuji at sunrise

Hiratsuka's interpretation of the most heavily depicted motif in Japanese printmaking, treated through the reductive black-and-white vocabulary that distinguished his work from both [ukiyo-e](/glossary/ukiyo-e) and [shin-hanga](/glossary/shin-hanga) predecessors. Where Hokusai and Hiroshige rendered Fuji through colored impressions and Yoshida Hiroshi through layered [bokashi](/glossary/bokashi) gradations, Hiratsuka typically reduced the mountain to a single carved silhouette and registered the sunrise through the contrast between unprinted washi and densely worked black surrounding fields. The summit snow may be carved as a discrete reserved area, while the slopes are textured by the controlled chatter of the chisel against the wood grain. As a founding figure of [sosaku-hanga](/glossary/sosaku-hanga), Hiratsuka designed, carved, and printed each impression himself, and his Fuji subjects deliberately strip away the polychromatic conventions of the [meisho-e](/glossary/meisho-e) tradition to test how much pictorial information the mountain motif can carry through line and tone alone. The print belongs to a thematic strand he revisited periodically across a career of more than eight decades.