Reclining Beauty

Reclining Beauty places Mori's blocky, contour-driven graphic style in dialogue with the [bijin-ga](/glossary/bijin-ga) lineage that runs from Harunobu and Utamaro through Goyo and Ito Shinsui. The figure is presumably shown stretched along the horizontal of the sheet, head propped on one arm, kimono parted or loosened. Where earlier [nishiki-e](/glossary/nishiki-e) bijin depended on fine keyblock line and subtle [bokashi](/glossary/bokashi) gradations across the cheek and neck, Mori reduces the body to a small number of broad shapes with the heavy black outline he absorbed from [kappazuri](/glossary/kappazuri) stencil dyeing. Costume pattern is rendered as flat repeat motifs printed in unmodulated color rather than layered tonal washes. The print exemplifies his postwar reframing of classical Japanese subjects through a folk-art sensibility, carved and printed by his own hand on washi in keeping with the [sosaku-hanga](/glossary/sosaku-hanga) principle of single-artist production. Reclining beauties recur intermittently across his career alongside the kabuki warriors and festival scenes that form his more visible output.