Ink before color
The black keyline is struck first from pearwood block; every pigment is later laid within its frame, never beyond it.
Pigment breathes on paper
Translucent mineral washes are thinned with water so the dó fiber shows through every stroke — color as light, not as paint.
Symmetry holds the devotion
A deity is centered, mirrored, framed in ornate panels — the composition is never improvised, because the meaning lives in the balance.
A print ages into its ground
Vermilion, indigo and gamboge deepen alongside the mulberry paper over decades, so an old print looks more itself, not less.