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<h2 class="hd hd-2 unit-title">Day 7 – Kiyochika’s “Famous Places of Tokyo” (1876–1881)</h2>
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<p>The Kobayashi Kiyochika “Famous Places of Tokyo” (1876-1881) series is now introduced:</p>
<ul>
<ul>
<li>”Shimbashi Station“ (1881) and a Comparison</li>
<li>"Shimbashi Station" viewed at the Smithsonian</li>
<li><span style="font-size: 1em;">Kiyochika‘s Bio</span></li>
<li><span style="font-size: 1em;">Kiyochika’s series “Famous Places of Tokyo” (1876–1881)</span></li>
<li>"View of Takanawa Ushimachi under the Shrouded Moon" (1879): the Railway</li>
<li>”Sumida River by Night“ (1881) and a Comparison</li>
</ul>
</ul>
<p style="padding-left: 60px;"></p>
<p><b>Discussion - Currier & Ives and Kiyochika's Train</b></p>
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<h2 class="hd hd-2 unit-title">”Shimbashi Station“ (1881): a Comparison</h2>
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<h3 class="hd hd-2">”Shimbashi Station“ (1881): a Comparison</h3>
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<div>Dr. Ulak described Kiyochika's rendering of Shimbashi Station, newly illuminated at night, and in the rain:</div>
<div></div>
<blockquote>
<h5>In his rendering of Shimbashi Station, one of Tokyo’s earliest railway terminals and a familiar subject among print artists depicting Western-style architecture, Kiyochika similarly adopted a characteristically different perspective—again moody and nocturnal. We are shown the station not only in nighttime, but also during a rainstorm. A crowd in the foreground, including rickshaw, carries oil-coated paper umbrellas and lighted lanterns; the light emanating from the station is replicated in lines of lantern light reflected on the wet pavement. (Ulak, "Kobayashi Kiyochika" <em>Tokyo Modern—I</em>)</h5>
</blockquote>
<div></div>
<div>View the two views of Shimbashi Station (新橋駅, Shinbashi-eki, ”New Bridge Station“). Note that the station name appears transcribed both as ”Shimbashi“ and ”Shinbashi.“<br />
<ul>
<ul>
<li>“Shimbashi Station” by Kobayashi Kiyochika, 1881</li>
<li>“Shimbashi Station” by Hiroshige III, 1874</li>
</ul>
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<blockquote>
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<div><img src="/assets/courseware/v1/a0d72384d6c46605e52d3aeaf901aa5c/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1199.jpg" alt="Shinbashi Station by Kiyochika" height="auto" width="100%" /></div>
<h5><br />Caption (above): “Shimbashi Station” by Kobayashi Kiyochika, 1881 (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)<br /><br /></h5>
<blockquote>
<h5></h5>
</blockquote>
<p>Compare Kiyochika‘s 1881 version with the 1874 print by Hiroshige III (below). </p>
<p></p>
<p></p>
<blockquote>
<h5>Kiyochika was a bystander to this flamboyant printmaking. Rather than celebrate (and exaggerate) all that was Western and new, the views of the capital he produced between 1876 and 1881 are restrained single-block prints that reflect Western influences in more subtle ways. There is some indication, for example, that he may have studied the technical teachings of Charles Wirgman (1832-1891), an English artist and cartoonist who lived in Japan from 1861 and trained many local artists in Western techniques of pictorial representation. Kiyochika’s works also reveal familiarity with photography, which began to flourish in Japan beginning in the mid-1860s. (Ulak, "Kobayashi Kiyochika" <em>Tokyo Modern—I</em>)</h5>
</blockquote>
<p></p>
</div>
<div><img height="auto" width="100%" src="/assets/courseware/v1/d180de3197b7b94f170f4b0fc4b72be1/asset-v1:MITx+VTx+1T2019+type@asset+block/Y0185_shimbashi-station_2000w.jpg" alt="“Shimbashi Station” by Hiroshige III, 1874 (Arthur M. Sackler Gallery, Smithsonian Institution)" /></div>
<h5><br />Caption (above): “Shimbashi Station” by Hiroshige III, 1874 (Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
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<h2 class="hd hd-2 unit-title">”Shimbashi Station“ viewed at the Smithsonian</h2>
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<p>The following video was made during the 2014 exhibition curated by Dr. Ulak—”Kiyochika: Master of the Night“—at the Sackler Gallery of Art, Smithsonian Institution, Washington, D.C.</p>
<p>Dr. Ulak discusses Kiyochika‘s prints on the floor of the exhibition. Shimbashi Station was Tokyo‘s main rail station, handling both passenger and freight from 1872 to 1914 ,when the Tokyo Station took over that role. The site was excavated in 1995, and a reproduction of the original Shimbashi Station building was built in 2003.</p>
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<p>Dr. Ulak describes Kiyochika‘s life in the video below. Here is a detailed biography:</p>
<blockquote>
<h5>Kobayashi Kiyochika (1847-1915) emerged from virtually nowhere. Born into a family of low-ranking officials in charge of government rice granaries in the Honjo district of Edo, his parents were members of the sprawling bureaucracy that served the Tokugawa family who had ruled Japan as hereditary shoguns since the beginning of the seventeenth century. Kiyochika’s childhood and youth and unpredictable development as an artist coincided with an epoch of enormous political and social upheaval in Japan.<span class="Apple-tab-span" style="white-space: pre;"> </span></h5>
<h5>Kiyochika was around six years old when Commodore Matthew Perry of the United States brought his gunboats to Japan—not once but twice (in 1853 and 1854)—and forced the Tokugawa regime to open the secluded country to foreign trade and intercourse. He was twenty-one in 1868, when the Tokugawa shogunate was overthrown, bringing to an end over six centuries of feudal rule by the samurai class.<span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span></h5>
<h5>His emergence as an artist in the woodblock-print tradition in the 1870s occurred at a time when many fellow artists were caught up in producing colorful “brocade pictures” (nishiki-e)—also called “enlightenment pictures” (kaika-e)—that celebrated the abrupt “Westernization” of Japanese life. This was, as it transpired, a celebration that the young Kiyochika by and large resisted.</h5>
<h5>Despite their status as minor civil servants, Kiyochika’s family lived on the edge of poverty. The price of rice was a source of constant turbulence in an age of social, political, and commercial upheaval, and the family relied on a meager stipend to survive. The death of Kiyochika’s father when his son was still in his fifteenth year was a devastating blow to family fortunes, and the collapse of the feudal order soon after cast Kiyochika and his family to their own devices. Still, when the Tokugawa regime was overthrown in 1868, Kiyochika followed the last shogun in self-imposed exile in Shizuoka. </h5>
<h5>During his years in Shizuoka, Kiyochika tried his hand at various odd jobs from fencing master to fisherman, and became familiar with the shabby world of traveling entertainers. His illustrated diaries affirm that he had fledgling skills as an artist, although he never was able to afford sustained formal training in traditional painting or woodblock printing. Yet in 1874, on a whim, he returned to Edo—now renamed Tokyo—and soon afterwards emerged as a woodblock-print artist of note. (Ulak, <em>Kiyochika's Tokyo—l,</em> MIT Visualizing Cultures)</h5>
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<center><img height="40%" width="40%" src="/assets/courseware/v1/a442f1c72fa7c7062166a82c2a0ff05b/asset-v1:MITx+VTx+1T2019+type@asset+block/Kobayashi_Kiyochika.jpg" alt="Photograph of Kobayashi Kiyochika, Japanese, 1847-1915" /></center>
<h5>Caption: Photograph of Kobayashi Kiyochika, undated (Wikimedia)</h5>
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<h2 class="hd hd-2 unit-title">Kiyochika's ”Famous Places of Tokyo“ (1876–1881) Series</h2>
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<p>We move on to Kiyochika‘s series, produced over a number of years and known collectively as ”Famous Places of Tokyo“ (1876–1881):</p>
<h5 style="padding-left: 30px;">Beginning in 1876, Kiyochika embarked on an unfinished series of ninety-three views of the new capital city that now stands as his main claim to fame in modern Japanese art. … Gradations of light fascinated him, shading into twilight and deepest night. The prevailing mood is one of melancholy… . Rather than celebrate (and exaggerate) all that was Western and new, the views of the capital he produced between 1876 and 1881 are restrained single-block prints that reflect Western influences in more subtle ways. There is some indication, for example, that he may have studied the technical teachings of Charles Wirgman (1832-1891), an English artist and cartoonist who lived in Japan from 1861 and trained many local artists in Western techniques of pictorial representation. Kiyochika’s works also reveal familiarity with photography, which began to flourish in Japan beginning in the mid-1860s. (Ulak, ”Kobayashi Kiyochika,“ <em>Kiyochika‘s Tokyo—1</em>, MIT Visualizing Cultures) </h5>
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<h3 class="hd hd-2">Kiyochika's ”Famous Places of Tokyo“ (1876–1881) Series</h3>
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<h2 class="hd hd-2 unit-title">”View of Takanawa Ushimachi Under the Shrouded Moon“ (1879)</h2>
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<p>"View of Takanawa Ushimachi Under the Shrouded Moon" by Kiyochika 1879. The steam engine dominates this night scene:</p>
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<h5>Kiyochika made this print in 1879, seven years after a rail line opened to connect Shinbashi in central Tokyo with Takanawa, about four miles down the coast of the bay. However, it seems that Kiyochika was depicting a type of locomotive that had yet to make its appearance in Japan. In anticipation, he borrowed liberally from a Currier & Ives lithograph of the engine. This study of light—perhaps Kiyochika’s most highly regarded—posits the train as the vehicle of modernity; it belches controlled fire and casts transforming rays from its headlamp, cabin, and carriage. The illumination provided by the dramatic, shifting, and grandly unpredictable sky contrasts with the modern light. Passengers in this journey are ghostly silhouettes, a form used again and again by Kiyochika to depict humans in this newly available night. (Ulak, Kiyochika's Tokyo—ll, MIT Visualizing Cultures)</h5>
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<div><img src="/assets/courseware/v1/b5c51b13b1b8a462b1e92aae71943b95/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1179.jpg" alt="View of Takanawa Ushimachi under the Shrouded Moon by Kiyochika 1879" /></div>
<h5><br />Caption (above): ”View of Takanawa Ushimachi under the Shrouded Moon“ by Kobayashi Kiyochika, 1879 (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<p></p>
<p><strong>An 1899 View of Japan‘s Railways</strong></p>
<p>The Japanese government undertook the study and building of a railway system, granting a charter in 1881 to the Japan Railway Company. A turn-of-the-twentieth-century, Western view of this rapid proliferation of rail was presented by Stafford Ransome, a member of the Institution of Civil Engineers. In his 1899 book, <em>Japan in Transition: A Comparative Study of the Progress, Policy, and Methods of the Japanese Since Their War with China</em>, Ransome discusses “Modern Industrial Japan”: </p>
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<h5>The captious critic has an easy field for finding a great deal of fault with regard to the conditions under which these railways are maintained and run from a Western point of view; but if we bear in mind that they were built to meet Japanese requirements and not European, there is little to be said against them; and when we take into consideration the extreme difficulties which confront the railway engineer in Japan, in the shape of mountainous country, earthquakes, and floods, with their attendant evils, one can only admire extremely the skill and patience of both the foreign and native organizers of this now big and effective railway system. (Ransome, 1899, p. 168)</h5>
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<p>Ransome mentions both criticism and praise for Japan’s efforts, ultimately arguing that transportation systems were “the necessary arteries of modern commerce … to succeed in the industrial struggle for life.” </p>
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<h5>This policy of the Government of nursing the railways and mercantile fleet in a manner which entailed very great expense has been much criticised; and it has over and over again been said that the Japanese, in their state of vainglorious inflation, were trying to do too much, and that in the end they must come to lamentable grief; but I can see no reason for such a theory as far as the railways and steamships are concerned, for these may be described as the necessary arteries of modern commerce, and without them the Japanese could not hope to succeed in the industrial struggle for life. (Ransome, 1899, p. 169)</h5>
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<p>____________________</p>
<h5>Reference: <a href="https://www.google.com/books/edition/Japan_in_Transition/seha_Ig2mugC?hl=en&gbpv=0" target="_blank">Ransome, Stafford. <em>Japan in Transition: A Comparative Study of the Progress, Policy, and Methods of the Japanese Since Their War with China</em>, Harper & Brothers, New York and London,1899.</a> This is external to edX and will open a new window</h5>
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<h2 class="hd hd-2 unit-title">”Sumida River by Night“ (1881) & ”View of Atagoyama“ (1878)</h2>
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<h3 class="hd hd-2">”Sumida River by Night“ (1881) & ”View of Atagoyama“ (1878)</h3>
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<div><img src="/assets/courseware/v1/15d7bc2ec483d31a34f4ce3e475610a9/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1202.jpg" alt="Sumida River by Night 隅田川夜 by Kobayashi Kiyochika (1874-1898)" /></div>
<h5><br />”Sumida River by Night“ by Kobayashi Kiyochika, 1881 (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
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<h5>One of Kiyochika’s iconic works, this print is often associated with Nagai Kafū’s 1909 novel Sumidagawa (The Sumida River), in which the protagonists serve as pretexts to write about Tokyo’s vanishing famous sites. In the print, the two characters silhouetted against the night sky are a geisha, with a traditional hairstyle, and her patron, wearing a Western-style hat. The couple stands on the eastern bank of the Sumida River at Mukōjima and looks to the western bank at Asakusa and Imado. The humpbacked bridges in the distance and the reflection of distant lights in the river contrast with the nocturnal sky and its subtle shades of grey and black. <!--[s2003_8_1202]--><br /><br />Map location: #1 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<div><br /><img src="/assets/courseware/v1/fceed01cdfc3edc3bfcb25d083b6af59/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003_8_1136.jpg" alt="View of Atagoyama 愛宕山の図 by Kobayashi Kiyochika 1878" /></div>
<h5><br />”View of Atagoyama“ by Kobayashi Kiyochika, 1878 (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
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<h5>Atop Atago Hill, the city’s highest natural elevation, two men relax in a teahouse. One wears traditional kimono; the other is in Western clothes. The latter, with his hat, tobacco, and shopping basket, resembles the flâneur look Kafū adopted when he set forth on his city wanderings. Close inspection of the print (for example, around the cloud of smoke emitting from the Western-style figure) shows areas of mesh-like patterns, similar to cross-hatchings used in copperplate lithography. In addition, the waitress’ red and purple accents may have been inspired by hand-tinted photography. Such experimentations attest to Kiyochika’s voracious interest in the variety of new visual media that were just beginning to emerge in Japan. <!--[s2003_8_1136]--><br /><br />Map location: #14 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">Day 7 Discussion - Currier & Ives and Kiyochika's Train</h2>
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<p>Discussion - Currier & Ives and Kiyochika‘s Train</p>
<p>Was Kiyochika influenced by a Currier & Ives print in creating his haunting 1879 night view of a train, as Dr. Ulak surmises? Let's take a look at some possible examples from the American Library of Congress collection:</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/efbbbe5c8db0af1e25ff2a6ef0981a6a/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_night-scene_00843u_2000w.jpg" alt="Night scene at an American railway junction: Lightning Express, Flying Mail, and Owl Trains, "on time" / Parsons & Atwater del., Currier & Ives, c1876, Library of Congress" /></div>
<h5><br />Caption (above): ”Night Scene at an American Railway Junction: Lightning Express, Flying Mail, and Owl Trains, ’on time‘“ / Parsons & Atwater del., Currier & Ives, ca. 1876 (Library of Congress)<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/63f3d00acf304d0d67c4a1c0731e4001/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_prairie-fires_04978u_2000w.jpg" alt="Prairie fires of the great west, Train traveling across prairie ahead of fire, Currier & Ives, c1872, Library of Congress" /></div>
<h5><br />Caption (above): ”Prairie Fires of the Great West,“ Train traveling across prairie ahead of fire, Currier & Ives, ca. 1872 (Library of Congress)<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/78143a2508900a90179e010b27ab7806/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_express-train_08647u_2000w.jpg" alt="The express train, Train passing under bridge, Currier & Ives, c1870, Library of Congres" /></div>
<h5><br />Caption (above): ”The Express Train,“ train passing under bridge, Currier & Ives, ca. 1870 (Library of Congress)<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/572fda2ca0b4789d326864ed0f42c824/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_american-railroad_05784u_2000w.jpg" alt="American railroad scene: snowbound, Currier & Ives, 1871, Library of Congress" /></div>
<h5><br />Caption (above): ”American Railroad Scene: Snowbound,“ Currier & Ives, 1871, (Library of Congress)<br /><br /></h5>
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<p>Now, look at Kiyochika's print:</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/b5c51b13b1b8a462b1e92aae71943b95/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1179.jpg" alt="“View of Takanawa Ushimachi under a Shrouded Moon” Kobayashi Kiyochika, woodblock print, 1879 " /></div>
<h5><br />Caption (above): ”View of Takanawa Ushimachi under the Shrouded Moon“ by Kobayashi Kiyochika, 1879 (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)<br /><br /></h5>
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<p>1<img height="auto" width="45%" src="/assets/courseware/v1/efbbbe5c8db0af1e25ff2a6ef0981a6a/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_night-scene_00843u_2000w.jpg" alt="Night scene at an American railway junction: Lightning Express, Flying Mail, and Owl Trains, "on time" / Parsons & Atwater del., Currier & Ives, c1876, Library of Congress" /> 2<img height="auto" width="45%" src="/assets/courseware/v1/63f3d00acf304d0d67c4a1c0731e4001/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_prairie-fires_04978u_2000w.jpg" alt="Prairie fires of the great west, Train traveling across prairie ahead of fire, Currier & Ives, c1872, Library of Congress" /></p>
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<p>3<img height="auto" width="45%" src="/assets/courseware/v1/78143a2508900a90179e010b27ab7806/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_express-train_08647u_2000w.jpg" alt="The express train, Train passing under bridge, Currier & Ives, c1870, Library of Congress" /> 4<img height="auto" width="45%" src="/assets/courseware/v1/572fda2ca0b4789d326864ed0f42c824/asset-v1:MITx+VTx+1T2019+type@asset+block/currier-ives_american-railroad_05784u_2000w.jpg" alt="American railroad scene: snowbound, Currier & Ives, 1871, Library of Congress" /></p>
<p>In the Discussion below, compare the Currier-Ives prints with Kiyochika‘s train print. Do you think one or more of these might have influenced him? What are some similarities and differences? (Of course, these are lithographs, and this is only a small selection. Might there be be a more exact print out there?) What about the mood of the prints, the intended audience, and goal?</p>
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