– Tsuchiya Kōitsu design depicting Sensōji Temple in Asakusa, Tokyo – From the "Famous Places of Japan" (Nihon Meisho Zue) series – Traditional hand-printed woodblock, sheet only (no mounting) Summary: This hand-printed woodblock print by Tsuchiya Kōitsu (1870–1949) depicts Sensōji Temple's main hall, known as Kinryūzan (Golden Dragon Mountain), in Tokyo's Asakusa district. Part of Kōitsu's "Famous Places of Japan" series, this print exemplifies the shin hanga (new prints) movement's blend of traditional ukiyo-e techniques with early 20th-century sensibilities. Kōitsu specialised in landscape and architectural subjects, often depicting famous temples, shrines, and scenic locations with atmospheric lighting effects – particularly twilight and night scenes that showcased woodblock printing's capacity for subtle gradations. This impression measures approximately 43.4 cm × 29.4 cm and is offered as a sheet without mounting, showing light age toning and minor soiling consistent with mid-20th century prints. Tsuchiya Kōitsu belongs to that generation of Japanese printmakers who lived through the medium's near-extinction and subsequent revival. Born in 1870, he witnessed ukiyo-e's commercial decline as photography and mechanical printing displaced traditional woodblock techniques. He then participated in shin hanga's deliberate resurrection of the old methods, proving that hand-carved, hand-printed images still had something essential to offer that cameras and printing presses could not replicate. Kōitsu studied under Kawase Hasui (1883–1957), the master of landscape prints whose blue-toned twilight scenes defined one strain of shin hanga aesthetics. From Hasui, Kōitsu learned how to use woodblock printing's layering capabilities to create atmospheric depth – those characteristic gradations from deep blue to pale violet that suggest evening light fading or mist rising from water. His "Famous Places of Japan" series applied this approach to well-known landmarks, capturing them at particular moments when light conditions transformed familiar architecture into something more ethereal. Sensōji Temple in Asakusa has been depicted by countless Japanese artists over centuries. As Tokyo's oldest temple (founded in the 7th century), it carries enormous cultural significance and instantly recognisable architecture. For printmakers, the challenge is finding fresh approaches to an endlessly repeated subject. Kōitsu typically solved this by choosing dramatic lighting and particular viewpoints that emphasised atmosphere over documentation. His Asakusa prints often feature the temple at dusk or dawn, when angled light creates strong contrasts and the sky becomes a gradient canvas of subtle colour shifts. The "sheet only" format means this impression has never been mounted in the traditional Japanese style (where prints are adhered to backing papers and roller-mounted as hanging scrolls) or Western-framed. For collectors, this represents both opportunity and responsibility. Unmounted sheets are more vulnerable to handling damage but also more flexible in terms of eventual presentation. One could choose traditional Japanese mounting, contemporary Western framing with a mat, or even float-mounting that displays the full sheet including margins. Shin hanga prints from the mid-20th century occupy an interesting market position. They are not ukiyo-e antiques commanding premium prices based on age and rarity. They are also not contemporary art in the current sense. They come from a moment when Japanese printmakers had thoroughly absorbed Western compositional ideas whilst remaining committed to traditional production methods. The result often feels both familiar and slightly exotic to Western viewers – recognisably Japanese in subject matter yet surprisingly modern in colour sensibility and spatial organisation. The dimensions (43.4 cm × 29.4 cm) suggest this is an ōban (large format) print, the standard size for shin hanga landscape prints and one that provides sufficient area for complex compositions with multiple architectural elements. The light age toning mentioned in the condition notes is typical for mid-century Japanese prints, particularly those stored in conditions less than ideal for archival preservation. Some collectors prefer this patina, viewing it as evidence of the print's genuine age and history; others prefer pristine impressions. Neither stance is wrong – it depends on whether you value the print as a time-frozen object or as an object that carries its history visibly. In contemporary interiors, Kōitsu's architectural prints work beautifully in spaces that appreciate both Japanese aesthetic traditions and mid-century design sensibilities. The compositions tend to be balanced and serene rather than busy or aggressive. The colour palettes, whilst including Kōitsu's characteristic blues, generally remain harmonious and restrained. These are prints that create visual calm rather than excitement, making them particularly suited to living areas, bedrooms, or studies where you want engagement without overstimulation. Condition considerations deserve thoughtful attention. Light toning and minor soiling, whilst not disqualifying issues, suggest the print has been exposed to light and handling over the decades since its printing. Prospective buyers should consider whether they plan to display the work (in which case further fading may occur unless UV-protective glazing is used) or store it in archival conditions (which would stabilise its current state). Japanese woodblock prints use water-based pigments that, whilst wonderfully subtle when fresh, can be more fugitive than oil-based inks. This is not a flaw but a characteristic of the medium that requires awareness. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Professional packing ensures safe arrival; combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. Seller Guarantee We specialise in authentic Japanese prints and guarantee this piece's authenticity. Questions welcome – we reply within 24 hours.