Night views with moonlight and lantern effects carry a 20–30% premium over comparable daytime scenes. The dramatic tonal contrasts required for nocturnal subjects make impression quality especially important — fine examples from pre-war printings show a depth of color that later editions rarely match. Prints with well-preserved black areas and accurate moonlight bokashi command the highest prices. Postwar lifetime editions (1946–1957) bearing the small 6mm J-seal represent authentic lifetime impressions but from the artist's final decade.
Dusk at Byodo Temple (Byodoin no yu), published in 1950, depicts the Phoenix Hall of Byodoin at Uji in the transitional light of dusk — the yu subject that softened the temple's famous gold-and-lacquer architecture into warm silhouette against the evening sky, its reflection elongating in the mirror pond as the day's last light faded. The dusk treatment of Byodoin offers a very different atmosphere from the daytime or reflected-daylight treatments: the buildings' elaborate decorative surfaces giving way to a simpler silhouette drama as the light fails, the pond's reflection becoming the composition's luminous center. The 1950 date places this among Hasui's late-career revisits to Heian landmarks.
伏見稲荷
Woodblock print
c. 1832/38
Color woodblock print; oban
Woodblock print
Uji Byodoin no ichibu
1921
Color woodblock print; oban
Curated cross-cuts that include this print.
Dusk at Byodo Temple (Byodoin no yu) was created by Kawase Hasui (川瀬巴水) in 1950.
Dusk at Byodo Temple (Byodoin no yu) uses Bokashi, on color woodblock print.
Dusk at Byodo Temple (Byodoin no yu) was published by Watanabe Shozaburo (1950).
Dusk at Byodo Temple (Byodoin no yu) depicts temples & shrines and night scenes.
