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.
Spring Evening at the Kintai Bridge, published in 1947, depicts the celebrated five-arch wooden bridge at Iwakuni in Yamaguchi Prefecture under the warm light of a spring evening — cherry blossoms on the banks, the river reflecting the sky's last color, the bridge's graceful arches spanning the Nishiki River in the soft dusk. This 1947 composition revisits a subject Hasui first treated in the 1924 Souvenirs of Travel, Third Series, and the postwar date gives it a poignant quality: the bridge, destroyed by a typhoon flood in 1950 and rebuilt in 1953, was in its final years when Hasui depicted it. The spring setting and evening light amplify the composition's lyrical mood.
Wakasa Kugushiko
1920
Color woodblock print; oban
Woodblock print
1934
Color woodblock print; oban
n.d.
Woodblock print; ishizuri-e, section of harimaze sheet
Curated cross-cuts that include this print.
Spring Evening at the Kintai Bridge (Kintaikyo no shunsho) (Kintaikyo no shunsho) was created by Kawase Hasui (川瀬巴水) in 1947.
Spring Evening at the Kintai Bridge (Kintaikyo no shunsho) uses Bokashi, Nishiki-e, and Moku-hanga, on color woodblock print.
Spring Evening at the Kintai Bridge (Kintaikyo no shunsho) was published by Watanabe Shozaburo (1947).
Spring Evening at the Kintai Bridge (Kintaikyo no shunsho) depicts landscapes, spring, and bridges.
Spring Evening at the Kintai Bridge (Kintaikyo no shunsho) measures 24.3 × 36.4 cm (Oban format).
