EGRETS IN THE SNOW / Ohara Shoson
1927

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Egrets in the Snow
Ohara Shoson (1877–1945)

MEDIUM: Woodblock Print
DATE: 1927
DIMENSIONS: 15 ¼ x 10 ¼ inches
CONDITION: Excellent; no condition issues to note
LITERATURE: Amy Newland et. al., Crows, Cranes & Camellias: The Natural World of Ohara Koson 1877-1945, 2001, p. 151, cat. no. 154
NOTE: Watanabe C-type seal, early pre-war printing

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Egrets in the Snow
Ohara Shoson (1877–1945)

MEDIUM: Woodblock Print
DATE: 1927
DIMENSIONS: 15 ¼ x 10 ¼ inches
CONDITION: Excellent; no condition issues to note
LITERATURE: Amy Newland et. al., Crows, Cranes & Camellias: The Natural World of Ohara Koson 1877-1945, 2001, p. 151, cat. no. 154
NOTE: Watanabe C-type seal, early pre-war printing

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Details

In Egrets in the Snow, Ohara Shoson presents a vision of winter serenity, distilled into a harmony of line, form, and light. A group of five snowy egrets stands huddled in quiet companionship as gentle flakes descend around them. Their bodies, rendered in brilliant white, form a rhythmic cascade of overlapping curves, their long beaks and legs delicately anchoring them in the frigid shallows below.

Shoson’s subtle mastery of composition is on full display here—the soft blue-gray background blends seamlessly into the still indigo of the water, while each egret is slightly varied in posture and gaze, creating both unity and individuality. Raised embossing enhances the texture of feathers, while finely carved flakes in the background simulate the delicate motion of falling snow.

Connoisseur's Note

Ohara Shoson is celebrated as the foremost kacho-ga artist of the Shin Hanga movement, and Egrets in the Snow is widely recognized as one of his signature achievements. A design that is at once formally elegant and emotionally resonant, it embodies the Shin Hanga ideal of merging traditional Japanese aesthetics with Western-influenced naturalism and technical refinement.

The egret, in Japanese art, is a symbol of purity, patience, and seasonal change. Here, gathered in contemplative stillness against a wintry backdrop, they evoke a deep sense of calm and transience. Koson’s handling of negative space—allowing the snow and air to “breathe” around the forms—gives the print a meditative silence, as though time itself has slowed.

This print, often included in major Shoson retrospectives and published by Watanabe Shozaburo, is especially valued for its refined printing techniques. From the subtle bokashi shading in the background to the exquisite blind embossing in the feathers, each element reflects the collaborative precision of the Shin Hanga studio system at its height.

Egrets in the Snow stands not only as a hallmark of Koson’s artistry, but as a poetic embodiment of the winter season—graceful, still, and endlessly captivating.

 
 
 

 
 

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