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<h2 class="hd hd-2 unit-title">Day 9 – Tokyo by Night (prints)</h2>
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<p>In <strong>Day 9 - Tokyo by Night (prints)</strong> we will travel through the nocturnal prints that reveal Tokyo‘s new nightlife. You'll learn how Kiyochika worked with the printers to achieve a variety of night skies. In the last section, y<span style="font-size: 1em;">ou'll see the influence of the camera and the gaze ”standing on two legs“ versus Hiroshige‘s </span><span style="font-size: 1em;">soaring</span><span style="font-size: 1em;"> hawk‘s aerial viewpoint.</span></p>
<p><span style="font-size: 1em;">Prints discussed:</span></p>
<ul>
<ul>
<li><span style="font-size: 1em;">Night at Nihonbashi (1881)
</span></li>
<li><span style="font-size: 1em;">Fireworks from Ikenohata (1881)
</span></li>
<li><span style="font-size: 1em;">Year-end Market at Sensōji (1881)
</span></li>
<li><span style="font-size: 1em;">Before Tarō Inari Shrine at the Asakusa Ricefields (1881)
</span></li>
<li><span style="font-size: 1em;">Fireflies at Ochanomizu (1880)
</span></li>
<li><span style="font-size: 1em;">Kudanzaka at Night in Early Summer (1880)
</span></li>
<li><span style="font-size: 1em;">Distant View of Ichi-no-hashi bridge from Sumida River‘s Embankment (1880) </span></li>
<li><span style="font-size: 1em;">View of Sunrise at Hyappongui in Ryōgoku, Tokyo (1879)</span></li>
</ul>
</ul>
<p><b>Quiz and Discussion Day 9 - Tokyo by Night</b></p>
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<h2 class="hd hd-2 unit-title">”Night at Nihonbashi“ (1881)</h2>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/c54995bee82a05d111f2bf2f8767d77d/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1187.jpg" alt="Night at Nihonbashi 日本橋夜 Kobayashi Kiyochika 小林清親 1881 The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution" /></div>
<h5><br />”Night at Nihonbashi“ 日本橋夜, 1881, by Kobayashi Kiyochika, woodblock print from ”Famous Views of Tokyo“ (courtesy of 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 style="padding-left: 30px;"></h5>
<p>In the course Introduction, Professor Nagahara discussed Nihonbashi through time, and showed Kiyochika's print, ”Night at Nihonbashi“ (1881). Kiyochika captures Tokyo‘s commercial center in the evening, full of pedestrians and traffic crossing the gas-lit bridge.</p>
<blockquote>
<h5></h5>
<h5>Nihonbashi was Tokyo’s commercial center. It was also the first of the fifty-three stations of the Tōkaidō, a major artery connecting Edo and Kyoto. Traditional representations of the site included symbols of power, prosperity, and divine protection—the castle, central fish market, and Mount Fuji, respectively. However, these motifs are absent from Kiyochika’s composition. </h5>
<h5></h5>
<h5>Instead, the artist focuses on capturing the ambiance of a gas-lit metropolis. Wrapped in the purplish haze of new artificial light, people strolling through the city take on a ghost-like appearance. Landmark buildings are indistinguishable in the shadows, heightening the sense of disorientation. A year after this print was created, the horse-drawn carriage seen proceeding down the sectioned off center would be superseded by trolley cars.</h5>
<h5>Map location: #28 (Ulak, <em>Kiyochika's Tokyo—ll</em>, MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">”Fireworks from Ikenohata“ (1881)</h2>
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<h5><br />”Fireworks at Ike-no-Hata“ 池の端花火, 1881 by Kobayashi Kiyochika (courtesy of The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<blockquote>
<h5>The buoyant atmosphere of spectacles at night is captured in this scene depicting fireworks at the Ryōgoku Bridge. A variety of pleasure boats is shown, from open-roof to covered ones for private hire. A fruit vendor peddles “water sweets“ at this popular summer attraction. <br /><br /> The vantage point is at water level. Kiyochika enhances the realism of this perspective by focusing on the theatrical animation of spectators in the foreground. The figures are shown in silhouette, marveling at the spherical halo of light. The rippled surface of the water, illuminated by the fiery explosion, appears as an almost photographic rendering. <!--[s2003_8_1197]--><br /><br />Map location: #33 (Source: Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
</blockquote>
<p></p>
<p>Artificial lighting—both gas and electricity—was adopted at a rapid pace during the Meiji period. Yet, the interplay of shadows remained central to Japanese aesthetics, as can be observed in Kiyochika's night scenes. Some interesting notes come from an essay on urban illumination:</p>
<p></p>
<blockquote>
<h5>Japan experienced electrification alongside philosophical enlightenment: the Meiji era (1868–1912), during which both gaslight and electricity were introduced, was known as the age of enlightenment (“Meiji” means enlightened rule), which conditioned the particular manifestation of Japanese lighting culture in the twentieth century. (Miya Elise Mizuta, <em>Cities of Light: Two Centuries of Urban Illumination</em>, p. 110)</h5>
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<p>Mizuta describes gas lighting displays in The First National Industrial Exposition held in Ueno Park in 1877.</p>
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<h5>Given the popularity of fireworks, of <em>hanabi</em> (literally, “flowers of fire”), in Edo-period Tokyo, it is not surprising that experimentation with artificial light in the twentieth century often assumed a floral form. The First National Industrial Exposition held in Tokyo’s Ueno Park in 1877 featured an exhibit that displayed gas lighting decoratively as a giant chrysanthemum flower accompanied by strings of lights hung in a manner that alluded to Mt. Fuji. But development of the commercial Ginza area, beginning in 1872, associated cherry blossoms in particular with artificial lighting. (Miya Elise Mizuta, <em>Cities of Light: Two Centuries of Urban Illumination</em>, p. 111)</h5>
<h5></h5>
</blockquote>
<h5>_____________________<br />Source: Mizuta, Miya Elise, Chapter 17 - Tokyo, <em>Cities of Light: Two Centuries of Urban Illumination</em>, edited by Sandy Isenstadt, Margaret Maile Petty, Dietrich Neumann (Routledge, 2014)</h5>
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<h2 class="hd hd-2 unit-title">”Year-end Market at Sensōji“ (1881)</h2>
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<h5><br />”Year-end Market at Sensōji Temple“ 浅草寺年乃市, 1881 by Kobayashi Kiyochika (courtesy of 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>The <em>toshi no ichi</em> was a traditional market held toward the end of the year, when the people of Edo would make their annual excursion to purchase decorations and specialty food items for New Year festivities. The turning of old to new is underscored by the juxtaposition of new Meiji-era symbols, such as the telegraph pole, streetlamp, and Western-style building, with more traditional elements, such as street performers, paper lanterns, and temple structures, shown in silhouette. <br /><br /> In Kiyochika’s composition, there is none of the rowdy, rambunctious atmosphere that surrounded the festivals and spectacles of Edo. In spite of the obvious range of activity depicted, the foreground row of silhouetted figures defines the intended perspective; Kiyochika invites the viewer to observe the observers. <!--[s2003_8_1107]--><br /><br />Map location: #35 (Source: Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">”Before Tarō Inari Shrine at the Asakusa Ricefields“ (1881)</h2>
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<h5><br />”Before Tarō Inari Shrine at the Asakusa Ricefields“ 浅草田圃太郎稲前, 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>In Japan, the spirit of Tarō Inari is revered in a vast number of Shinto shrines. Distinguished by vermillion-painted gateways (<em>torii</em>), these sites also have images of foxes (<em>kitsune</em>), usually in male-female pairs. The fox was thought to be an incarnation of the Inari spirit or a messenger to that deity. In addition, the fox, a wily shape-shifter, often was associated with seduction. Thus, Inari shrines were often in close proximity to pleasure quarters. <br /><br /> This print suggests nothing of the gaiety, noise, and color that surrounded an Inari shrine filled with petitioners. Kiyochika’s view is of a deserted shrine near an area of ramshackle brothels known as Asakusa Yoshiwara. The path meanders beyond the gateway to an indeterminate future. One of the last of Kiyochika’s ninety-three images of Tokyo, its sense of haunting desolation permeates the view. <!--[s2003_8_1174]--><br /><br />Map location: #23 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<p></p>
<p>If we jump ahead some thirty years into the future, writers meditate on early Meiji scenes of desolation and loss. In her book, <em>Nagai Kafū's Occidentalism</em>, Rachael Hutchinson writes, ”Kafū is well known as an author who uses landscape, space, and time as loci of meaning …“ (p. 145), which would apply to Kiyochika as well.</p>
<p>On the subject of foxes, Nagai Kafū’s 1909 story, <em>Kitsune</em> (”The Fox“), relates a supposed childhood ”memory“ dating to around the time the print was made in 1881 (Kafū was born in 1879): “a time when the old, well-ordered mansions of samurai were being bought up by bureaucrats and often left to run to seed” (p. 141). Hutchinson continues with an analysis of the story by Maeda Ai (the influential literary critic and theorist of modernity introduced on Day 6) that articulates a series of oppositions—”binarisms“ such as old Edo and new Tokyo—that arose in response to modernization:</p>
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<h5>Maeda's analysis of <em>Kitsune</em> recounts how the previously controlled gardens of Yamanote had come to symbolize a wild and untamed Nature, in opposition to the brick order of Ginza and Nihonbashi (p. 99). The grotesque and haunting grove at the bottom of the Nagai's property represents the literal remains of old Edo as well as its darkness and mystery, the sense of superstition heightened when a fox is sighted there. The males of the household are roused to action when the fox kills a chicken on the property, hunting and killing the animal despite the females' protests linking it to the god Inari. In Maeda's analysis, “the opposition between domestic and wild animals can be inserted into an array of binarisms that include civilization and nature, Tokyo space and Edo space, masculine sphere and feminine sphere." … the area of Yamanote emerges as a complex site of negotiation between the remains of old Edo and the new lifestyles of the intellectual class. (Hutchinson, <em>Nagai Kafū's Occidentalism</em>, p. 141)</h5>
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<p>_______________________</p>
<h5>Source: Hutchinson, Rachael. <em>Nagai Kafū's Occidentalism: Defining the Japanese Self</em> (State University of New York Press, New York, 2011)</h5>
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<h2 class="hd hd-2 unit-title">”Fireflies at Ochanomizu“ (1880)</h2>
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<h5><br />”Fireflies at Ochanomizu“ お茶の水蛍, 1880 by Kobayashi Kiyochika (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>A roofed pleasure boat slowly floats down the water at twilight. Despite the summer pastime’s bucolic association, the setting is Kanda River, in the heart of the city. In this composition, Kiyochika employs a vanishing-point perspective and subtle tonal gradations to express the depth of the quickly descending darkness. The delicate glow of fireflies—rendered in two shades of yellow—serves to emphasize the night’s seductive pull. It is interesting to note that the American artist James McNeill Whistler (1834-1903), who was fascinated with the “veiling” effect of the evening on the Thames, also used numerous pinpoints of light to structure darkness in his paintings. <!--[s2003_8_1131]--><br /><br />Map location: #36 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">”Kudanzaka at Night in Early Summer“ (1880)</h2>
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<h5><br />”Kudanzaka at Night in Early Summer“ 九段坂五月夜, 1880 by Kobayashi Kiyochika (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>With the establishment of Yasukuni Shrine in Kudanzaka in 1869, the site became a landmark as a memorial to Japanese fallen soldiers. The adjoining Western-style lighthouse, constructed purportedly to appease the souls of those who had died bringing about the Meiji Restoration, also guided ships in Shinagawa Bay. In his novella Black Hair, Meiji-era writer Izumi Kyōka (1873-1939) notably feminized the structure, likening the stone base to the fall of a woman’s kimono. <br /><br /> Kiyochika achieved this print’s rich nuances of dark sky with the bokashi technique. He rendered hues ranging from light to dark by applying pigment in a gradient to a moistened woodblock. The standard process of inking the whole block with a single pigment value was much more efficient, but the effect was less subtle. <!--[s2003_8_1106]--><br /><br />Map location: #32 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<h2 class="hd hd-2 unit-title">”Distant View of Ichi-no-hashi Bridge from Sumida River‘s Embankment“ (1880)</h2>
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<h5><br />”Distant View of Ichi-no-hashi bridge from Sumida River's Embankment“ 大川岸一之橋遠景, 1880 by Kobayashi Kiyochika (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>When accommodating early Western diplomatic and commercial missions, the Japanese strove for a polite isolation of these still unknown and thoroughly exotic visitors. Ishikawa and Tsukiji, two islands reserved for habitation by foreigners, were in the bay just to the east of Shinbashi, the new Tokyo’s central transportation hub. Ichinohashi Bridge connected the islands. On outings and excursions to the foreign concessions, the Japanese could gawk at the novelty of transplanted Western customs, all the while unwittingly becoming modern. <br /><br /> Kiyochika combines some of his favorite themes in this print: a nocturnal landscape, various sources of light, and silhouettes of characters and buildings. In this nightscape, he subtly associates the pleasures of the old Edo (the geisha) and modern innovations (the rickshaw). He also provides one of the last views of a site that would soon be completely transformed. <!--[s2003_8_1119]--><br /><br />Map location: #4 (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<p></p>
<p>Kiyochika's prints show a variety of night skies. There are many different types of sky portrayed, and all contribute to the mood and intention of the the print. He was assisted by the artisans and printmakers he worked with in achieving the <em>bokashi</em> techniques that evoke the fine gradations of light and dark.</p>
<h5><a href="https://pulverer.si.edu/essays" target="_blank">You can explore woodblock print techniques further at this site: ”The World of the Japanese Illustrated Book“ (with Jim Ulak and others).</a> This is external to edX and will open a new window</h5>
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<h2 class="hd hd-2 unit-title">”View of Sunrise at Hyappongui in Ryōgoku, Tokyo“ (1879)</h2>
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<h5><br />”View of Sunrise at Hyappongui in Ryōgoku, Tokyo“ 東京両国百本杭暁之図, 1879 by Kobayashi Kiyochika (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>“Hyappongui” refers to the stakes in the water along the western bank of the Sumida River at Ryōgoku. These pilings were put in place to secure the banks from erosion caused by the current. Again, Kiyochika chooses to create a conceptual counterpoint to the master Hiroshige’s perspective of this same scene. Kiyochika observes from the opposite, western shore, depicting the pilings in the relative foreground. The bridge itself goes unobserved and the early morning quiet, deserted feeling of the scene is in stark contrast to the normal perceptions of the vitality of this area of substantial commerce, connecting the provinces of Musashi in the west and Shimōsa to the east. <!--[s2003_8_1173]--><br /><br /> (Ulak, ”Kiyochika's Tokyo—ll,“ MIT Visualizing Cultures)</h5>
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<p>NOTE: be sure to scroll down after the video to view Hiroshige's breathtaking ”bird‘s-eye view“ scene.</p>
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<p><strong>Bird‘s Eye, Aerial View </strong></p>
<p>Dr. Ulak cites the aerial view often used by Hiroshige. Here is an example, “Jūmantsubo Plain at Fukagawa Susaki,” #107 from the series ”One Hundred Famous Views of Edo,“ 1856, Metropolitan Museum of Art.</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/fca217f64eeed6d54f59c1400a605cc8/asset-v1:MITx+VTx+1T2019+type@asset+block/hiroshige107_hawk_100-View-of-Edo_Met-Museum_2000w.jpg" alt="“Jūmantsubo Plain at Fukagawa Susaki,” by Hiroshige, #107 from the series One Hundred Famous Views of Edo, 1856, Metropolitan Museum of Art" /></div>
<h5><br />Caption (above): <a href="https://www.metmuseum.org/art/collection/search/55733" target="_blank">“Jūmantsubo Plain at Fukagawa Susaki,” by Hiroshige, #107 from the series ”One Hundred Famous Views of Edo,“ 1856, (The Howard Mansfield Collection, Metropolitan Museum of Art)</a> This is external to edX and will open a new window</h5>
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<h2 class="hd hd-2 unit-title">Day 9 Quiz and Discussion - Tokyo by Night</h2>
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<p>The night scenes viewed on Day 9 show a variety of light sources. Study these woodblock prints from Kobayashi Kiyochika‘s ”Famous Views of Tokyo" and answer the following questions.</p>
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<p>87<img height="auto" width="47%" src="/assets/courseware/v1/c54995bee82a05d111f2bf2f8767d77d/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1187.jpg" alt="Night at Nihonbashi (1881)" /> 97<img height="auto" width="47%" src="/assets/courseware/v1/894ffddf954fdd581a7aff1ff77bedce/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1197.jpg" alt="Fireworks from Ikenohata (1881)" /> </p>
<p>07<img height="auto" width="47%" src="/assets/courseware/v1/a9476dd3bef66ea8e8c3494fd1b615af/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1107.jpg" alt="Year-end Market at Sensōji (1881)" /> 74<img height="auto" width="47%" src="/assets/courseware/v1/b955c47b6bf9b3d48add5c64eac02ca1/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1174.jpg" alt="Before Tarō Inari Shrine at the Asakusa Ricefields (1881)" /></p>
<p>31<img height="auto" width="47%" src="/assets/courseware/v1/04df378939511b022a9657c733492c0e/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003_8_1131.jpg" alt="Fireflies at Ochanomizu (1880)" /> 06<img height="auto" width="47%" src="/assets/courseware/v1/b670eb9730e1726f4bec155c279811ed/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1106.jpg" alt="Kudanzaka at Night in Early Summer (1880)" /></p>
<p>19<img height="auto" width="47%" src="/assets/courseware/v1/2f04ec1ba1dd7c518445546bd91a553d/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1119.jpg" alt="Distant View of Ichi-no-hashi bridge from Sumida River‘s Embankment (1880)" /> 73<img height="auto" width="47%" src="/assets/courseware/v1/57ec0e2ba48de07d0a2014578f5c3bc0/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1173.jpg" alt="View of Sunrise at Hyappongui in Ryōgoku, Tokyo (1879)" /></p>
<h5></h5>
<h5>87 Night at Nihonbashi (1881) </h5>
<h5>97 Fireworks from Ikenohata (1881) </h5>
<h5>07 Year-end Market at Sensōji (1881) </h5>
<h5>74 Before Tarō Inari Shrine at the Asakusa Ricefields (1881) </h5>
<h5>31 Fireflies at Ochanomizu (1880) </h5>
<h5>06 Kudanzaka at Night in Early Summer (1880) </h5>
<h5>19 Distant View of Ichi-no-hashi bridge from Sumida River (1880) </h5>
<h5>73 View of Sunrise at Hyappongui in Ryōgoku, Tokyo (1879)</h5>
<h5></h5>
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<p><strong>Discussion - Tokyo by Night</strong></p>
<p>Please say a few words about the light sources in the images. How many different light sources, and what types of light sources are shown? How are they used as graphical elements? What are the artist's favorite pattens? How did Kiyochika use reflection?</p>
<p>How are people part of the scenes? Active, passive? Looking up, down? What kind of life does Kiyochika see in the city?</p>
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