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<h2 class="hd hd-2 unit-title">Day 10 – Tokyo by Day (prints)</h2>
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<p>On <strong>Day 10 – Tokyo by Day</strong>, we view a selection of Kiyochika's ”daytime“ prints show how modernization crept into traditional scenes:</p>
<ul>
<ul>
<li><span style="font-size: 1em;">”Morning Sea at Omori“ (1880)
</span></li>
<li><span style="font-size: 1em;">”Asakusa Temple in Snow “(1880) </span></li>
<li><span style="font-size: 1em;">
”Clear Weather after Snow at the Old Imperial Palace“ (1879) </span></li>
<li><span style="font-size: 1em;">
”Paper Money Bureau at Tokiwabashi“ (1880) </span></li>
<li><span style="font-size: 1em;">”View from the Former Yushima Seidō“ (1879)</span></li>
</ul>
</ul>
<p><strong>Quiz Day 10 – Tokyo by Day</strong></p>
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</div>
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<h2 class="hd hd-2 unit-title">”Morning Sea at Omori“ (1880)</h2>
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<h5><br />”Morning Sea at Omori“ 大森朝の海, 1880 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<blockquote>
<h5>On the coast of the bay just south of central Tokyo, Kiyochika offers the time-honored view of two seaweed gatherers. He borrows from a view made famous in a print by Utagawa Kuniyoshi (1797-1861) but chooses a decidedly up-to-date background. In the distance, the forms of high-masted Western vessels mingle with sails of traditional Japanese ships. The bread-loaf shaped daiba or man-made fortress islands add a foreboding touch. Constructed as part of a series of coastal defenses in 1853 by the military strategist Egawa Tarozaemon (1805-1855), these batteries juxtaposed with Western vessels give a sharply contemporary cast to an otherwise idyllic scene. On the immediate shore at Omori, implied, unseen, and balancing the panorama of naval activity in the distance is the suggestion of the presence of the American zoologist Edward Sylvester Morse (1838-1925), whose discovery of prehistoric artifacts at Omori in 1877 marked the first scientific archeological excavation in Japan. He published his findings in 1879. These discoveries would have been very much in the range of Kiyochika’s awareness. <!--[s2003_8_1165]--><br /><br />(Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
</blockquote>
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<h3 class="hd hd-2">”Morning Sea at Omori“ (1880)</h3>
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<h2 class="hd hd-2 unit-title">”Asakusa Temple in Snow“ (1880)</h2>
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<h5><br />”Asakusa Temple in Snow“ 浅草寺雪中, 1881 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<blockquote>
<h5>The artist reverses Hiroshige’s classic depiction of 1856, in which the viewer sees the temple in a snowy distance at the end of a long entry road. A huge lantern is the foreground device. The scale of the temple, its monumentality, is domesticated by a mother and child—whose garments may suggest a New Year visit—looking outward onto a not-particularly-busy winter scene. The hustle and bustle often associated with images of the great temple is not present. Familiarity rather than bravado is the tone set. <!--[s2003_8_1163]--> <br /><br />(Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
</blockquote>
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<h2 class="hd hd-2 unit-title">”Clear Weather After Snow at the Old Imperial Palace“ (1879)</h2>
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<h5><br />”Clear Weather After Snow at the Old Imperial Palace“ 旧本丸雪晴, 1879 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<blockquote>
<h5>The Imperial Palace is, at the time this print depicts, a rather new concept and designation for the Edo Castle. The residence of the Meiji Emperor from 1868 was understood by Kiyochika as a worthy subject, foregrounded by a line of mounted soldiers. In this print Kiyochika is still some decades distant from the well-articulated military figures found in his images of the Sino-Japanese and Russo-Japanese Wars. But the old castle as a central topic is surprisingly recent. In the acclaimed series of views of Edo created by Hiroshige, only tangential glimpses of this imposing structure are seen. This perhaps reflects the low regard for the shogunate in the 1850s, and also reflects Kiyochika’s perception of the centrality of the imperial concept emerging in the new world order.<br /><br />(Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">”Paper Money Bureau at Tokiwabashi“ (1880)</h2>
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<h5><br />”View of the Mint Building at Tokiwabashi 常盤橋内紙幣寮之図 , 1880 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<blockquote>
<h5>The Shiheiryō (Paper Money Bureau) was established in 1871. As demand grew for domestically-produced paper currency, the bureau sought to expand its scope of work to include the design and printing of banknotes, securities, and postage stamps. To this end, Italian engraver Edoardo Chiossone (1833-1898) was recruited to implement Western technologies of ink printing on watermarked paper. <br /><br /> The bureau was housed in a two-story redbrick factory building with a phoenix crown, popularly known as Asahikaku (Pavilion of the Rising Sun). In this representation of the building, Kiyochika rendered the dawning sky in pinkish tones. In another, later print, he depicted the scene in broad daylight. <!--[s2003_8_1138]--> <br /><br />Map location: #13 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">”View from the Former Yushima Seidō“ (1879)</h2>
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<h5><br />”View from the Old Yushima Seidō“ 湯島元聖堂之景, 1879 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<blockquote>
<h5>Originally a private school housed in the residence of neo-Confucian scholar Hayashi Razan (1583–1657), Yushima Seidō during the Edo period became the official training academy for Tokugawa samurai. During the Meiji era, the school shared its premises with the Ministry of Education, Tokyo College for Teachers, and Japan’s first state-run women’s college for teachers, earning its appellation as the “birthplace of public school education.” In Kiyochika’s print, the venerable site of learning is obscured behind woods. He offers a prosaic view from atop the slope leading down to the Kanda River. The double arches of Yorozubashi Bridge, nicknamed “four eyes,” are visible from afar. The telegraph wires lead the viewer’s eye to the far distance. <!--[s2003_8_1142]--><br /><br />Map location: #15 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<p>The storytelling that Dr. Ulak reads into Kiyochika’s print relates to shifts brought about by the “visual revolution” in printing, from woodblock to moveable type which, while it wasn't entirely new, took off in the Meiji period. John Okada argues that written text “bore an additional burden of providing visual description”:</p>
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<h5>According to Maeda, a “visual revolution” occurred during the first few decades of the Meiji period that went hand in hand with the technological change from printing by woodblock to printing by movable type. He points out that as more emphasis was placed on the visual, the illustrations that had been an integral part of Edo-period books were replaced by visualized descriptions. In other words, the written text, which had heretofore emphasized dialogue, now bore the additional burden of providing visual description, which previously had been relegated to the illustrations. Also important is Maeda’s discussion of how Shōyō handles two seemingly contradictory conceptions of art: art as idea versus art as mimesis. (John Okada, “Modern Literature and the World of Printing,” from Maeda Ai, <em>Text and the City</em>, p. 255)</h5>
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<h2 class="hd hd-2 unit-title">Day 10 Quiz – Tokyo by Day</h2>
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<p>What can we learn by looking at Kiyochika's prints of Tokyo by day? First of all, water is a recurring theme.</p>
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<h5>No matter which print in Kiyochika’s Famous Views of Tokyo one selects, it will be full of rich memories of the spaces of Edo, city of water. Of the ninety-five prints included in the series, some thirty works are associated with the Sumida River, at such locales as Hashiba, Mukōjima, Ryōgoku, and Ōkawabata. If one includes views of other waterways, such as the canal at Nihonbashi Bridge and the Kanda River at Ochanomizu, or of Shinobazu Pond at Ueno, then over half of all the views in the series are linked to water. And if you then add snow scenes like Kaiun Bridge and Suruga-chō in the Snow, plus rain scenes such as Shinbashi Station and Kudan Hill on an Early Summer Night, Kiyochika’s persistent predilection for water becomes unmistakable. (Maeda Ai, “Panorama of Enlightenment," <em>Text and the City</em>, 71)</h5>
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<p></p>
<p>Look over the "Tokyo by Day" prints shown in Day 10:</p>
<p>65<img height="auto" width="47%" src="/assets/courseware/v1/d28bdd7e46fc16a33e12e8cb839db61d/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1165.jpg" alt="65 Morning Sea at Omori (1880)" /> 63<img height="auto" width="47%" src="/assets/courseware/v1/8f56645d881feb9f183dbf2529b9c40f/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003_8_1163_asakusa-snow_2000w.jpg" alt="Kobayashi Kiyochika, woodblock print, Asakusa Temple in Snow (1880) s2003_8_1163" /></p>
<p><span size="3" style="font-size: medium;">42</span><img height="auto" width="47%" src="/assets/courseware/v1/3d7f3ee42fc7e03ac2f2d14c612437c1/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003_8_1142.jpg" alt="42 View from the Former Yushima Seidō (1879)" style="caret-color: #000000; color: #000000; font-family: -webkit-standard;" /> 38<img height="auto" width="47%" src="/assets/courseware/v1/727dffe940636adfe16538a611c797e0/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1138.jpg" alt="38 Paper Money Bureau at Tokiwabashi (1880)" /> </p>
<h5>65 Morning Sea at Omori (1880) </h5>
<h5>63 Asakusa Temple in Snow (1880)</h5>
<h5>42 View from the Former Yushima Seidō (1879) </h5>
<h5>38 Paper Money Bureau at Tokiwabashi (1880)</h5>
<p></p>
<p>____________________</p>
<h5>Source: Maeda, Ai. “The Panorama of Enlightenment” (Kaika no panorama), translated by Henry D. Smith II, essay from <em>Text and the City</em>, Duke University Press, 2004 </h5>
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 1" role="group"><div class="choicegroup capa_inputtype" id="inputtype_cb84f8c158a04b599eb90bf4e9b28bff_2_1">
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<legend id="cb84f8c158a04b599eb90bf4e9b28bff_2_1-legend" class="response-fieldset-legend field-group-hd">Which of the day prints has water?</legend>
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_2_1-choice_0-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_2_1"> 65 Morning Sea at Omori (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_2_1-choice_1-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_2_1"> 63 Asakusa Temple in Snow (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_2_1-choice_2-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_2_1"> 38 Paper Money Bureau at Tokiwabashi (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_2_1-choice_3-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_2_1"> 42 View from the Former Yushima Seid&#333; (1879)
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<legend id="cb84f8c158a04b599eb90bf4e9b28bff_3_1-legend" class="response-fieldset-legend field-group-hd">Which of the day prints have evidence of modernity?</legend>
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_3_1-choice_0-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_3_1"> 65 Morning Sea at Omori (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_3_1-choice_1-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_3_1"> 63 Asakusa Temple in Snow (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_3_1-choice_2-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_3_1"> 38 Paper Money Bureau at Tokiwabashi (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_3_1-choice_3-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_3_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_3_1"> 42 View from the Former Yushima Seid&#333; (1879)
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 3" role="group"><div class="choicegroup capa_inputtype" id="inputtype_cb84f8c158a04b599eb90bf4e9b28bff_4_1">
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<legend id="cb84f8c158a04b599eb90bf4e9b28bff_4_1-legend" class="response-fieldset-legend field-group-hd">Which of the day prints use disappearing perspective?</legend>
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_4_1-choice_0-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_4_1"> 65 Morning Sea at Omori (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_4_1-choice_1-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_4_1"> 63 Asakusa Temple in Snow (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_4_1-choice_2-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_4_1"> 38 Paper Money Bureau at Tokiwabashi (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_4_1-choice_3-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_4_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_4_1"> 42 View from the Former Yushima Seid&#333; (1879)
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 4" role="group"><div class="choicegroup capa_inputtype" id="inputtype_cb84f8c158a04b599eb90bf4e9b28bff_5_1">
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<legend id="cb84f8c158a04b599eb90bf4e9b28bff_5_1-legend" class="response-fieldset-legend field-group-hd">Which of the day prints portray an outdoor scene with an inside story suggested to knowledgeable viewers?</legend>
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_5_1-choice_0-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_5_1"> 65 Morning Sea at Omori (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_5_1-choice_1-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_5_1"> 63 Asakusa Temple in Snow (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_5_1-choice_2-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_5_1"> 38 Paper Money Bureau at Tokiwabashi (1880)
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<input type="checkbox" name="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1[]" id="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="cb84f8c158a04b599eb90bf4e9b28bff_5_1-choice_3-label" for="input_cb84f8c158a04b599eb90bf4e9b28bff_5_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_cb84f8c158a04b599eb90bf4e9b28bff_5_1"> 42 View from the Former Yushima Seid&#333; (1879)
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<p>We continue with the insights of Maeda Ai, here in terms of the <strong>Imperial Palace</strong> and its place on a map titled, “the 'One-Five-Thousandth Scale Map of Tokyo' created by the General Staff Office of the Army Surveying Section in the second half of the Meiji 10s (1877–1886).”</p>
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<blockquote>
<h5>At the same time, however, following the methodology of Edo-period illustrated maps, the imperial palace at the center of the city is left blank, and there is conscious manipulation whereby the majority of military facilities are removed to nine sheets outside the boundaries of the map. This methodology, which conceals vital areas while depicting other areas in detail, clearly indicates the aim of this map, which was intended for use in street combat, to quell either rebellion among the nobility or uprisings among the people. Yet, in the very fact that a map intended for use in street combat creates the impression of the most beautiful urban map one can read the subtle gap that emerged between the perception of space through the gaze that “sees everything at a glance” and the actual space of the city. (Maeda Ai, “Utopia of the Prisonhouse: A Reading of In Darkest Tokyo” essay, <em>Text and the City</em>, p. 36)</h5>
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<p>Kiyochika's print, "Clear Weather after Snow at the Old Imperial Palace" depicts the Imperial Palace:</p>
<blockquote>
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<p><img height="auto" width="100%" src="/assets/courseware/v1/f1fd8bfa6fd568b569d471d74f008f7a/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1108.jpg" alt="08 Clear Weather after Snow at the Old Imperial Palace (1879)" /></p>
<h5>Caption: Kobayashi Kiyochika, 08 "Clear Weather after Snow at the Old Imperial Palace" (1879)</h5>
<p></p>
<p>______________</p>
<h5>Source: Maeda, Ai. “Utopia of the Prisonhouse: A Reading of In Darkest Tokyo,” translated by Seiji M. Lippit and James A. Fujii, essay from <em>Text and the City (</em>Duke University Press, 2004)</h5>
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<legend id="2e81895751364de29f7413a40cf058e9_2_1-legend" class="response-fieldset-legend field-group-hd">The above Kiyochika print of 1879 does which of the following?</legend>
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<input type="checkbox" name="input_2e81895751364de29f7413a40cf058e9_2_1[]" id="input_2e81895751364de29f7413a40cf058e9_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="2e81895751364de29f7413a40cf058e9_2_1-choice_0-label" for="input_2e81895751364de29f7413a40cf058e9_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_2e81895751364de29f7413a40cf058e9_2_1"> gives the military an exaggeratedly aggressive look designed to assert the authority of the Emperor
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<input type="checkbox" name="input_2e81895751364de29f7413a40cf058e9_2_1[]" id="input_2e81895751364de29f7413a40cf058e9_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="2e81895751364de29f7413a40cf058e9_2_1-choice_1-label" for="input_2e81895751364de29f7413a40cf058e9_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_2e81895751364de29f7413a40cf058e9_2_1"> is an early rendering of soldiers that will later be fully developed in the artist&#8217;s Sino-Japanese and Russo-Japanese war prints
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<input type="checkbox" name="input_2e81895751364de29f7413a40cf058e9_2_1[]" id="input_2e81895751364de29f7413a40cf058e9_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="2e81895751364de29f7413a40cf058e9_2_1-choice_2-label" for="input_2e81895751364de29f7413a40cf058e9_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_2e81895751364de29f7413a40cf058e9_2_1"> puts the Imperial Palace front and center to emphasize its new importance
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