Deer crowd the sand before a great two-storey temple gate

A massive two-storey temple gate rises at the right of centre, its dark timber frame carrying two heavy grey tiled roofs with ornamented ridge ends and deep bracketed eaves; two large round gold plaques hang in the shadow beneath. A long roofed cloister runs away to the right, visitors standing along its raised walkway. Tall dark pines lean in from the upper left. On the broad pale sand below, a group of tan deer crowds around a man in a pale blue-green jacket who bends to set down a wooden pail. Visitors in kimono cross the open ground — one in turquoise stripes, one in red and pink stripes, others in blue and purple — and a stall stands under a white awning at the far left.

Hiroshi Yoshida (1876–1950) came to woodblock printing from Western-style oil painting, and brought a painter's eye for light to shin-hanga. He worked first with the publisher Watanabe Shōzaburō and from 1925 ran his own studio, supervising the carving and printing himself and often issuing a single design in several colourways to catch a different hour of the day. His travels through the Japan Alps, India, Egypt, Europe and North America gave the movement its widest geographic range. His prints are held by the British Museum, the Metropolitan Museum of Art and the Museum of Fine Arts, Boston.

Printed as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. Ships worldwide with free delivery to 30+ countries.