![Spring Snow at Kiyomizu Temple, Kyoto (Haru no yuki [Kyoto Kiyomizu]) by Kawase Hasui — Japanese Color woodblock print; oban, April, 1932](https://www.artic.edu/iiif/2/07f4e5b6-3545-ecef-6d04-6f5741e62c38/full/843,/0/default.jpg)
Spring Snow at Kiyomizu Temple, Kyoto (Haru no yuki [Kyoto Kiyomizu])
Haru no yuki [Kyoto Kiyomizu]
by Kawase Hasui
Haru no yuki [Kyoto Kiyomizu]
by Kawase Hasui
Snow at a shrine or temple — Hasui's single most valuable subject combination. Prints pairing winter precipitation with sacred architecture dominate the top of his price range: Snow at Zojoji Temple ($16,000 at Artelino, 2023), Snow at Tosho-gu Shrine ($3,200 at Artelino, 2020), Snow at a Shrine Entrance ($3,100 at Artelino, 2020), Saishoin Temple in the Snow ($3,000 at Artelino, 2023). Edition period is critical: pre-war lifetime editions consistently outperform posthumous prints by 3–5×. Pre-war lifetime editions bearing the Watanabe copyright seal (A through G types, 1926–1944) are the most desirable.
Spring Snow at Kiyomizu Temple, Kyoto portrays one of Japan's most famous temples in a rare and transient moment — a late spring snowfall that dusts the iconic wooden terrace and surrounding cherry trees with white. Created in 1932 and published by Watanabe Shozaburo, this print captures Kiyomizu-dera's celebrated main hall with its dramatic wooden stage projecting out over the hillside, supported by massive timber pillars. The juxtaposition of spring blossoms and unexpected snow creates a poignant visual metaphor for the Japanese aesthetic concept of mono no aware — the bittersweet awareness of impermanence.
Kiyomizu-dera, whose name means "Pure Water Temple," was founded in 778 and has been a UNESCO World Heritage Site since 1994. Its main hall, rebuilt in 1633 without the use of a single nail, features the famous butai stage that extends out over the forested Otowa hillside, offering panoramic views of Kyoto. Hasui's choice to depict this well-known subject during a spring snowfall — an unusual meteorological event that occurs perhaps once or twice in a given year — demonstrates his constant search for the extraordinary moment within the familiar landscape.
The technical execution required exceptional skill from the print craftsmen. The delicate balance between the pink tones of cherry blossoms and the white of fresh snow demanded precise color mixing and careful printing pressure. The architectural complexity of the temple buildings, with their layered rooflines and intricate timber construction, required detailed carving work, while the atmospheric effect of falling snow over the entire scene was achieved through overprinting techniques. This print belongs to a group of Kyoto subjects that Hasui produced throughout his career, documenting the ancient capital's temples, gardens, and streets across all seasons. Spring Snow at Kiyomizu Temple stands out within this group for its unusual seasonal combination and its masterful evocation of a fleeting natural phenomenon.
$16,000
Woodblock print
c. 1832/38
Color woodblock print; oban
Yuki no Miyajima
1929
Color woodblock print; oban
1932
Woodblock print
Curated cross-cuts that include this print.
Spring Snow at Kiyomizu Temple, Kyoto (Haru no yuki [Kyoto Kiyomizu]) (Haru no yuki [Kyoto Kiyomizu]) was created by Kawase Hasui (川瀬巴水) in April, 1932.
Spring Snow at Kiyomizu Temple, Kyoto (Haru no yuki [Kyoto Kiyomizu]) uses Bokashi, Karazuri, and Nishiki-e, on color woodblock print; oban.
Spring Snow at Kiyomizu Temple, Kyoto (Haru no yuki [Kyoto Kiyomizu]) was published by Watanabe Shozaburo (April, 1932).
Spring Snow at Kiyomizu Temple, Kyoto (Haru no yuki [Kyoto Kiyomizu]) depicts snow scenes, temples & shrines, and spring, set at Kyoto, Kiyomizu Temple.
Spring Snow at Kiyomizu Temple, Kyoto (Haru no yuki [Kyoto Kiyomizu]) measures 23.7 × 36.2 cm (Oban format).
