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<h2 class="hd hd-2 unit-title">Day 12 – Exhibition ”Kiyochika: Master of the Night“</h2>
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<p>Module II concludes with <strong>Day 12 – Exhibition ”Kiyochika: Master of the Night.”</strong></p>
<p>Today, you will learn about the sad ending to Kiyochika's series, his later work, and wrap up Module II.</p>
<p>This is an alternate view of the prints as they appear in an exhibition. Dr. Sebring worked with the Freer-Sackler videographer, Hutomo Wicaksono, to create videos of James Ulak touring the exhibition, which he curated, in 2014 while it was showing the Arthur M. Sackler Gallery of Art. How do exhibitions bring meaning to the source images?</p>
<ul>
<ul>
<li>Welcome to the Exhibition</li>
<li><span style="font-size: 1em;">Nine Sections of the Exhibition</span></li>
<li>Summer Night at Asakusa Kurama‘e, 1881</li>
<li><span style="font-size: 1em;">Fire Ends Kiyochika‘s Series</span></li>
<li><span style="font-size: 1em;">After the ”100 Views“ and Kiyochika‘s War Prints</span></li>
<li><span style="font-size: 1em;">Module II Wrap-Up by Dr. Ulak</span></li>
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<p><strong>Day 12 Quiz - Exhibition</strong></p>
<p></p>
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<p>Today, we see inside of the exhibition Dr. Ulak designed. Think about the curatorial process. How do you organize a an exhibition within physical (rather than digital) space? What is the traffic flow? How do you arrive at the organizational themes that will help viewers connect with the artwork and mind of the creator?</p>
<p></p>
<p>”Kiyochika: Master of the Night“</p>
<p>Exhibition, March 29, 2014–July 27, 2014</p>
<p>Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC</p>
<p>Exhibition Overview:</p>
<blockquote>
<h5>When Kobayashi Kiyochika (1847-1915) returned to his birthplace, which he had known as Edo, in 1874, he found a city transformed. Renamed Tokyo (Eastern Capital), it was filled with railroads, steamships, gaslights, telegraph lines, and large brick buildings—never-before-seen entities that were now ingrained in the cityscape. Self-trained as an artist, Kiyochika set out to record his views of Tokyo in a series of 100 prints. An 1881 fire engulfed the city and ended the project, but the 93 works he had completed were unlike anything previously produced by a Japanese artist. Created primarily at dawn, dusk, and night, the prints depict subjects veiled in sharply angled light, shadows, and darkness. In the exhibition, over half of the prints from the series are organized in themes that represent the artist’s unique visions.</h5>
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<h2 class="hd hd-2 unit-title">Nine Sections of the Exhibition</h2>
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<p><strong><br />Wall Text - Nine Sections of the Exhibition</strong></p>
<p><strong>The Man in the Hat</strong></p>
<p>The “man in the hat” is a striking, if occasional, presence in Kiyochika’s views of Tokyo. The artist’s use of a protagonist is unique in a Japanese cityscape series. It is tempting to think that this gentleman, who appears both alone and with a few companions, is Kiyochika’s surrogate. The lack of certain identification reinforces the ambiguous mood that pervades his prints.</p>
<p>The brimmed hat with a creased crown <em>(nakaore bōshi)</em> was introduced to Japan in 1873 or 1874, around the time of Kiyochika’s return from the provinces to a transformed Tokyo. Worn with a Western-style suit, traditional kimono, or some other culturally eclectic apparel, this hat marked the wearer as a sophisticate, open to and curious about modern developments. In Kiyochika’s series, the hat underscores his ongoing theme of observing and contemplating a changing city.</p>
<p>The appeal of the “man in the hat” to Nagai Kafū (1879-1959), a Japanese writer who championed Kiyochika’s works, surely was in its resonance with the notion of the <em>flâneur.</em> Defined as “stroller” or “saunterer,” the term <em>flâneur.</em> referred to a man of leisure who would wander the streets of Paris—a city and a mode of existence dear to the Francophile author. Kafū used his collection of Kiyochika prints both as inspiration for his novels and as a nostalgic guide for his strolls through Tokyo, seeking relics of a transitional city already escaping his grasp.</p>
<p><strong>Picturing Modernity</strong></p>
<p>The infusion of Western technology into Japan from the beginning of the Meiji era (1868–1912) spurred widespread visual documentation of the new developments. Railroad transportation, telegraphic communication, gas-fueled lighting, steam- powered river and ocean vessels, and new materials and designs for bridges and buildings were crammed into the Japanese landscape over two decades. While not often technically precise, Kiyochika’s renderings captured the essence of these modern innovations. In an interpretive context of light, shadow, delicately controlled chromatics, and subtle juxtaposition, he gave a highly nuanced commentary on the emerging values of the new world.</p>
<p>At every juncture, the infrastructures of mass production, efficient communication, and transportation led to relatively easy mobilization for war. Two wars were fought in Manchuria during the Meiji era, one with China (1894–95) and the other with Russia (1904–5). Kiyochika’s best-known productions in the last twenty years of his career relate to scenes from those wars.</p>
<p><strong>Bricktown</strong></p>
<p>In 1873, Rengagai (bricktown or brick shopping row) referred to a shopping avenue stretching from Shinbashi north to Kyobashi, on a line just to the east of the Imperial Palace. In the previous year, fire had destroyed the traditional structures in this area, collectively called the Ginza. The Tokyo government seized the opportunity to create a wholesale gesture of modernity and Westernization, hiring the Irish architect-engineer Thomas Waters (1842-1898) and his associates to fill the axis with Western-style buildings. Waters obliged with a long vista of two- and three-story brick structures in the Georgian style. Expensive and more frequently leased than purchased, these structures disconcerted the Japanese and disappointed foreigners who sought the exotica of old Japan.</p>
<p>Ultimately, bricks did not supplant the traditional materials of wood, paper, clay, and straw-filled plaster. Ersatz structures arose in a style called <em>giyofū,</em> blending Japanese and Western design ideas and materials to fill a conceptual middle ground.</p>
<p><strong>Open City</strong></p>
<p>Although Edo was Japan’s de facto center of political power from the early 1600s, Kyoto remained the capital until 1868, when an official transfer to Edo occurred and Edo’s name was changed to Tokyo. Unlike the elegantly proportioned and stately streets of Kyoto, laid out in a classic grid pattern, the new ruling city accommodated a jigsaw puzzle of natural topography. Rivers, streams, and canals emptied into lowlands and estuaries. To the west of the Sumida River, land rose unevenly but steadily to a higher ground.</p>
<p>“High city, low city” was a phrase that defined both topography and social status. There were two focal points in the new Tokyo: the bustling commercial and entertainment areas along the river and, to the west, the parcels of land that grew from the central moated castle. When the shogun-daimyo-samurai societal structure collapsed, so did the reason for and population of that “retainer” culture. The city, high and low, was open to anyone—if not economically, at least for leisure activities and strolling around. Kiyochika’s prints explored new vistas, not with the conventional bird’s-eye view, but from a human eye at a human scale.</p>
<p><strong>Nightlife</strong></p>
<p>Edo had maintained a “nightlife” as a traditional city culture, but it was mainly confined to the pleasure quarters. In his studies of Tokyo, Kiyochika demonstrated how forms of illumination began to substantially transform the way life was lived. Although electric power would not be available to the city structure at large until 1886, gas-fueled streetlamps made a limited appearance in Tokyo in 1874, when around eighty were placed in the neighborhood of the Diet, or parliament building. The kerosene lamp also was becoming a fixture of modernity.</p>
<p>The ability to engage in labor and leisure activities during what were once largely inaccessible hours changed the city’s appearance. Kiyochika used the opportunity to describe the newly lighted night, indulging his continuing interest in light’s effects, but also offering understated meditations on the contrasts of natural and man-made light.</p>
<p><strong>Spectacle & Spectatorship</strong></p>
<p>Few things are more distinctive and striking in Kiyochika’s views of the emerging city of Tokyo than his depictions of people. With rare exception, Kiyochika renders the human form in silhouette (particularly in nocturnal settings) or as somehow remote, singular, and absorbed. His compositions often suggest a stage: the viewer looks at the depicted audience, which, in turn, observes an event, frequently a new phenomenon within the city or some form of light.</p>
<p>The pleasure traditional Japanese artists took in depicting the variety and vitality of human activity has nearly vanished from Kiyochika’s scenes. Kiyochika left no written record of his intentions, but the severe disconnect between his cityscapes and those of the artists that preceded him suggests he was striving to depict a new kind of human walking the roads and traversing the bridges of Tokyo, one who is disengaged, alert, observing, and waiting.</p>
<p><strong>Bridges & Gateways</strong></p>
<p>As Tokyo developed, canals were constructed to facilitate movement of people and goods. Bridges, as well as ferries, became essential features of the landscape, marking land and water crossroads, dividing neighborhoods and social classes. The city is replete with local names affixed to <em>hashi</em> or <em>bashi</em> (bridge).</p>
<p>Bridges were places of famous or notorious assignations and events. In some instances, they also bore metaphorical meanings as transition points to other realms of existence. Buddhism recognized spiritual merit in bridge-building and understood passage over bridges as a symbol of spiritual endeavor. On the other hand, bridges also launched pleasure seekers into realms of desire.</p>
<p>Woven intimately into the function and myth of Tokyo, bridges inevitably appeared in Kiyochika’s prints. The image of the bridge seemed to raise questions for the artist about personal and societal destinations during a period of transition. </p>
<p><strong>Fire</strong></p>
<p>Fire was and is a constant fear in urban Japan. The traditional building materials of wood, paper, and straw mixed with clay succumbed easily to flame. Because of their massive aftereffects, great fires figure prominently in Japan’s historical chronology.</p>
<p>In the early months of 1881, two fires, separated by a few weeks, devastated Tokyo. On the morning of January 26, a fire started in Kanda, in the near northeast of the city’s center. It quickly spread eastward along the Kanda River, turned south through Nihonbashi, and jumped the river from west to east at Ryōgoku Bridge to ravage the areas of Fukagawa and Honjo. Called the Great Ryōgoku Fire—or the Great Kanda Fire, noting its place of origin—its flames razed more than one hundred acres in the eastern part of the capital and left more than thirty-six thousand people homeless. By any scale, this was the most important fire of the Meiji era. Then, on the evening of February 11, another fire broke out in Hisamatsuchō. Kiyochika produced four distinct designs based on these two fires—some of his most visually arresting prints.</p>
<p>Kiyochika’s personal loss in each of these fires was immense. His home, his studio, and his birthplace all were obliterated. The artist left no written record of despair; perhaps these fire meditations served that purpose. Kiyochika’s visual essays on fire concluded his series of Tokyo prints.</p>
<p><strong>Turning Back from the Edge</strong></p>
<p>From 1856 until his death, Utagawa Hiroshige (1797-1858) designed a suite of beautiful cityscapes in a series titled ”One Hundred Famous Views of Edo.“ The complete series actually comprises 118 woodblock prints, including a few created posthumously by other artists, often featuring witty, imposing, and cropped foreground subjects that lead the eye to a distant view. Hiroshige and his publisher initiated this series as Edo was yet again rebuilding after catastrophe, this time an 1855 earthquake and fire. The series thus was grand in scale and celebratory in spirit.</p>
<p>”One Hundred Famous Views of Edo“ was the last sweeping display of the best of Edo-period woodblock print design applied as an ode to a beloved city. It also was the standard of excellence for many artists, including the young Kobayashi Kiyochika. Yet, in his stylistically unique views of Tokyo that form this exhibition, Kiyochika’s references to Hiroshige are subtle at best.</p>
<p>Three years after the Great Kanda Fire of 1881, which ended the Tokyo project, Kiyochika initiated another series, ”One Hundred Views of Musashi.“ For unknown reasons, he completed only thirty-seven works of the projected one hundred. Unlike Kiyochika’s Tokyo views, his Musashi prints are striking in their explicit evocations of Hiroshige’s style. This truncated series reads as if Kiyochika had pulled back from the edge achieved in his disquieting vision of the modernizing Tokyo and, with his publisher, sought a more reliable and comfortable mode of looking at familiar views.</p>
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<h2 class="hd hd-2 unit-title">”Summer Night at Asakusa Kurama'e“ (1881)</h2>
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<h3 class="hd hd-2">”Summer Night at Asakusa Kurama'e,“ 1881</h3>
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<h2 class="hd hd-2 unit-title">Fire Ends Kiyochika’s “100 Views”</h2>
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<p>The <strong>two videos below</strong> tell the story of how fire, known as <strong>the Great Ryōgoku Fire or the Great Kanda Fire of 1881</strong>, engulfed Tokyo and put an early end to Kiyochika’s “100 Views," with only 93 of the planned 100 views completed. Dr. Ulak begins with a reference to a Japanese saying.</p>
<p></p>
<blockquote>
<h5><em>Jishin, kaminari, kaji, oyaji</em>: “Earthquake, thunder, fire, father.” These four things named in ascending order of severity were proverbially feared by the Japanese. Prior to world War II and especially during the feudal period, the father as head of the house had almost complete control of the family and all in it. (Crump Buchanan, <em>Japanese Proverbs and Sayings</em> vol. 1, 96)</h5>
</blockquote>
<p>It is also cited in Gennifer Weisenfeld's book, <em>Imaging Disaster</em>, which we will reference more extensively on the first day of Module III.</p>
<blockquote>
<h5>The common jocular aphorism for the four most powerful forces of nature, “earthquake, thunder, fire, and father” (<em>jishin, kaminari, kaji, oyaji</em>) suggests that earthquakes are one of the most feared natural phenomena in Japan—comparable to the wrath of the stern Japanese patriarch. (Weisenfeld, <em>Imaging Disaster</em>, ) </h5>
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<h3 class="hd hd-2">Ryogoku After the Fire</h3>
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<div>The four Kiyochika prints depicting the fire appear here:</div>
<h5><br /><br /></h5>
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<div><img src="/assets/courseware/v1/cefa9547523a538da2704ff71ed6f08a/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1226.jpg" alt="Great Fire in Ryōgoku at Asakusa Bridge 両国大火浅草橋 by Kobayashi Kiyochika 1881" /></div>
<h5><br />Caption (above): ”Great Fire in Ryōgoku at Asakusa Bridge“ 両国大火浅草橋, 1881 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)<br /><br /><br /></h5>
<p></p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/9984a7967c579352d4e9567c0f8d8554/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1227.jpg" alt="”Great Fire in Ryōgoku Drawn from Hamachō 浜町より写両国大火, 1881 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)" /></div>
<h5><br />Caption (above): ”Great Fire in Ryōgoku Drawn from Hamachō 浜町より写両国大火, 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>
<p></p>
</blockquote>
<div style="caret-color: #000000; color: #000000; font-family: -webkit-standard;"><img src="/assets/courseware/v1/f6defd2dc31d24b32244fd4cc3c46cd0/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1224.jpg" alt="Fire Seen from Hisamatsu-chō 久松町にて見る出火 by Kobayashi Kiyochika 1891" /></div>
<h5><br />Caption (above): ”Fire Seen from Hisamatsu-chō“ 久松町にて見る出火, 1881 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)<br /><br /><br /></h5>
<div><img src="/assets/courseware/v1/7b4be496f86a1793b0c4a154429b3e51/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1223.jpg" alt="Ryōgoku After the Fire 両国焼け跡 by Kobayashi Kiyochika 1881" /></div>
<h5><br />Caption (above): ”Ryōgoku After the Fire“ 両国焼け跡, 1881 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
<h5><br /><br />Video from “Kiyochika’s Tokyo lll,” MIT Visualizing Cultures</h5>
<h5><a href="https://visualizingcultures.mit.edu/kiyochika_tokyo_03/ki_exhib01.html" target="_blank">Open “Kiyochika’s Tokyo – lll, Exhibition Video Tour” on the Visualizing Cultures website</a>. This is external to edX and will open a new window. <a href="https://visualizingcultures.mit.edu/home/vc01_about.html" target="_blank">Click here to learn about MIT Visualizing Cultures</a></h5>
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<p><strong>100 Views of Musashi</strong></p>
<p>Dr. Ulak explains that a few years later Kiyochika was commissioned to create another series, "One Hundred Views of Musashi" (1884), left incomplete. </p>
<p>He adopted a completely different style imitating the grand master, Hiroshige, imagining it would be a selling point. But, his earlier 1876–1881 “Famous Places of Tokyo" series remains his masterwork, though he never again worked in that unique and innovative style.</p>
<blockquote>
<h5>Three years after the Great Kanda Fire of 1881, which ended the Tokyo project, Kiyochika initiated another series, ”One Hundred Views of Musashi.“ For unknown reasons, he completed only thirty-seven works of the projected one hundred. Unlike Kiyochika’s Tokyo views, his Musashi prints are striking in their explicit evocations of Hiroshige’s style. This truncated series reads as if Kiyochika had pulled back from the edge achieved in his disquieting vision of the modernizing Tokyo and, with his publisher, sought a more reliable and comfortable mode of looking at familiar views. (Ulak, exhibition wall text)</h5>
</blockquote>
<p></p>
<p>The Hiroshige and Kiyochika prints displayed here both represent the lumberyards at Fukagawa on a snowy evening. Take a closer look at the two prints compared in the exhibition: first, Kiyochika's 1884 lumberyard <span style="font-size: 1em;">view from the later series, and second, Hiroshige's 1856 lumberyard from 28 years earlier.</span></p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/b9f46e90bb912e41c7a14bede188c378/asset-v1:MITx+VTx+1T2019+type@asset+block/kiyochika_lumberyard_100views-musashi_SC165415_mfa_2000w.jpg" alt="Kobayashi Kiyochika, “Lumberyard at Fukagawa” from the series One Hundred Views of Musashi Province (Musashi hyakkei no uchi), 1884, November 10. Source: Museum of Fine Arts, Boston" /></div>
<h5><br />Caption (above): Kobayashi Kiyochika, “Lumberyard at Fukagawa” from the series <em>One Hundred Views of Musashi Province</em> (Musashi hyakkei no uchi), 1884, November 10 (Museum of Fine Arts, Boston)</h5>
<h5><br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/dc88e588e0591bb3b7dc51501e366ee7/asset-v1:MITx+VTx+1T2019+type@asset+block/hiroshige_lumberyard_1856_met-museum_2000w.jpg" alt="Utagawa Hiroshige, “The Lumber Yard at Fukagawa,” woodblock print, 1856, from The Howard Mansfield Collection, The Met Museum" /></div>
<h5><br />Caption (above): Utagawa Hiroshige, “The Lumber Yard at Fukagawa,” woodblock print, 1856, The Howard Mansfield Collection, The Met (www.metmuseum.org)</h5>
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<h2 class="hd hd-2 unit-title">Module II Wrap Up</h2>
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<p>Module II wraps up with Dr. Ulak summarizing the unique place of the ”100 Views of Tokyo“ in Kiyochika's career. </p>
<p></p>
<p>Kiyochika's war prints of <span style="line-height: 1.6;">the 1894-1895 Sino-Japanese War (see the grid below) and later the Russo-Japanese War,</span><span style="font-size: 1em; line-height: 1.6em;"> were popular, as mentioned earlier. Many woodblock-print artists worked as ad-hoc war correspondents, producing imaginary scenes that mixed reportage and propaganda to stoke nationalism and support for the war on the home-front. Dower writes:</span></p>
<blockquote>
<h5>…Kiyochika, the most esteemed of these artists … is calculated to have produced more than seventy triptychs during the brief ten months of the Sino-Japanese War. Kiyochika’s impressions of the front ranged from the lyrical to the atrocious, sometimes even bringing these two extremes together. (Dower, "Kiyochika's War" <em>Throwing Off Asia—II</em>, MIT Visualizing Cultures)<br /><br /></h5>
</blockquote>
<p>Visualizing Cultures created a grid of Kiyochika‘s Sino-Japanese War prints to convey the sheer dynamism the artist brought to his scenes. The colorful, cartoon-like quality suffuses the violence in a heroic atmosphere that belies the horror of war.</p>
<p><img height="auto" width="78%" src="/assets/courseware/v1/513bfc140a5f2df81dcca8120a7dd58e/asset-v1:MITx+VTx+1T2019+type@asset+block/war_propaganda_prints_grid.jpg" alt="A grid of war propaganda prints of the Sino-Japanese War (1894-1895) by Kobayashi Kiyochika, “Throwing Off Asia ll,” MIT Visualizing Cultures, prints courtesy Museum of Fine Arts, Boston" style="line-height: 1.6;" /></p>
<h5>Caption (above): A grid of war propaganda prints of the Sino-Japanese War (1894–1895) by Kobayashi Kiyochika, “Throwing Off Asia ll,” MIT Visualizing Cultures (prints courtesy Museum of Fine Arts, Boston)<br /><br /><br /></h5>
<p></p>
<p>It has been a privilege to enter the highlights and shadows of Meiji Tokyo through the artist's point-of-view that manages to convey the new modernity and the nostalgia for the past, as they are inevitably linked.</p>
<p>We end with a last look at a print with a Kiyochika surrogate, "the man in the hat," the saunterer and observer, crossing one of Tokyo's wooden bridges that harkens back to Edo times.</p>
<p></p>
<div><img src="/assets/courseware/v1/cc5e27c9aa4fcc7d45afb9081f941609/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1111.jpg" alt="Okura Bridge in Honjo by Kobayashi Kiyochika 1880" /></div>
<h5><br />”Okura Bridge in Honjo“ 本所御蔵橋 by Kobayashi Kiyochika, 1880 (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)</h5>
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<h2 class="hd hd-2 unit-title">Day 12 Quiz - Exhibition</h2>
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<p>Kiyochika ended his series <em>Famous Places of Tokyo</em> early because of the fire—known as the Great Ryōgoku Fire or the Great Kanda Fire—that destroyed his home and studio. Take a look at the aftermath image, and answer the questions:</p>
<p></p>
<p><img height="auto" width="100%" src="/assets/courseware/v1/7b4be496f86a1793b0c4a154429b3e51/asset-v1:MITx+VTx+1T2019+type@asset+block/s2003_8_1223.jpg" alt="”Ryōgoku After the Fire“ 両国焼け跡, 1881 by Kobayashi Kiyochika (The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)" /></p>
<h5>Caption (above): ”Ryōgoku After the Fire“ 両国焼け跡, 1881 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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<legend id="491d0a1a4b484eb6a63065fcc6526cf4_2_1-legend" class="response-fieldset-legend field-group-hd">What statements apply to the image &#8221;Ry&#333;goku After the Fire&#8221;?</legend>
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<input type="checkbox" name="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1[]" id="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="491d0a1a4b484eb6a63065fcc6526cf4_2_1-choice_0-label" for="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_491d0a1a4b484eb6a63065fcc6526cf4_2_1"> wind is an important element of the print evoking the ash and smoke
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<input type="checkbox" name="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1[]" id="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="491d0a1a4b484eb6a63065fcc6526cf4_2_1-choice_4-label" for="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_491d0a1a4b484eb6a63065fcc6526cf4_2_1"> the suffering is conveyed by shrouded, ghostlike figures
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<input type="checkbox" name="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1[]" id="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1_choice_5" class="field-input input-checkbox" value="choice_5"/><label id="491d0a1a4b484eb6a63065fcc6526cf4_2_1-choice_5-label" for="input_491d0a1a4b484eb6a63065fcc6526cf4_2_1_choice_5" class="response-label field-label label-inline" aria-describedby="status_491d0a1a4b484eb6a63065fcc6526cf4_2_1"> modernity appears compromised by the burned out brick telegraph office
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<p>We juxtapose the two views of a lumberyard, Hiroshige's, and Kiyochika's view from his series, <em>One Hundred Views of Musashi Province</em>:</p>
<p> <img height="auto" width="45%" src="/assets/courseware/v1/dc88e588e0591bb3b7dc51501e366ee7/asset-v1:MITx+VTx+1T2019+type@asset+block/hiroshige_lumberyard_1856_met-museum_2000w.jpg" alt="Utagawa Hiroshige, “The Lumber Yard at Fukagawa,” woodblock print, 1856, from The Howard Mansfield Collection, The Met Museum" /> <img height="auto" width="45%" src="/assets/courseware/v1/b9f46e90bb912e41c7a14bede188c378/asset-v1:MITx+VTx+1T2019+type@asset+block/kiyochika_lumberyard_100views-musashi_SC165415_mfa_2000w.jpg" alt="Kobayashi Kiyochika, “Lumberyard at Fukagawa” from the series One Hundred Views of Musashi Province (Musashi hyakkei no uchi), 1884, November 10. Source: Museum of Fine Arts, Boston" /></p>
<p></p>
<h5>Caption (left): Utagawa Hiroshige, “The Lumber Yard at Fukagawa,” woodblock print, 1856, from The Howard Mansfield Collection, The Met Museum</h5>
<h5></h5>
<h5>Caption (right): Kobayashi Kiyochika, “Lumberyard at Fukagawa” from the series One Hundred Views of Musashi Province (Musashi hyakkei no uchi), 1884, November 10. Source: Museum of Fine Arts, Boston</h5>
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<h3 class="hd hd-3 problem-header" id="62b61d4023b547cb985e7e06f58ebe28-problem-title" aria-describedby="block-v1:MITx+VTx+1T2019+type@problem+block@62b61d4023b547cb985e7e06f58ebe28-problem-progress" tabindex="-1">
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<legend id="62b61d4023b547cb985e7e06f58ebe28_2_1-legend" class="response-fieldset-legend field-group-hd">Comparing the above prints, Hiroshige on the left, and Kiyochika on the right, which statements apply?</legend>
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<input type="checkbox" name="input_62b61d4023b547cb985e7e06f58ebe28_2_1[]" id="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="62b61d4023b547cb985e7e06f58ebe28_2_1-choice_0-label" for="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_62b61d4023b547cb985e7e06f58ebe28_2_1"> both prints are snow scenes
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<input type="checkbox" name="input_62b61d4023b547cb985e7e06f58ebe28_2_1[]" id="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="62b61d4023b547cb985e7e06f58ebe28_2_1-choice_1-label" for="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_62b61d4023b547cb985e7e06f58ebe28_2_1"> Kiyochika adopted the &#8220;portrait&#8221; vertical size in imitation of Hiroshige
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<input type="checkbox" name="input_62b61d4023b547cb985e7e06f58ebe28_2_1[]" id="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="62b61d4023b547cb985e7e06f58ebe28_2_1-choice_2-label" for="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_62b61d4023b547cb985e7e06f58ebe28_2_1"> Kiyochika's print takes the angle of the camera and the view "standing on two feet"
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<input type="checkbox" name="input_62b61d4023b547cb985e7e06f58ebe28_2_1[]" id="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="62b61d4023b547cb985e7e06f58ebe28_2_1-choice_3-label" for="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_62b61d4023b547cb985e7e06f58ebe28_2_1"> Kiyochika&#8217;s print signals a new direction for printmaking influenced by photography
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<input type="checkbox" name="input_62b61d4023b547cb985e7e06f58ebe28_2_1[]" id="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="62b61d4023b547cb985e7e06f58ebe28_2_1-choice_4-label" for="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_62b61d4023b547cb985e7e06f58ebe28_2_1"> both prints have a large foreground element
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<input type="checkbox" name="input_62b61d4023b547cb985e7e06f58ebe28_2_1[]" id="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_5" class="field-input input-checkbox" value="choice_5"/><label id="62b61d4023b547cb985e7e06f58ebe28_2_1-choice_5-label" for="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_5" class="response-label field-label label-inline" aria-describedby="status_62b61d4023b547cb985e7e06f58ebe28_2_1"> both prints overlook a lumberyard with a single vanishing point
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<input type="checkbox" name="input_62b61d4023b547cb985e7e06f58ebe28_2_1[]" id="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_6" class="field-input input-checkbox" value="choice_6"/><label id="62b61d4023b547cb985e7e06f58ebe28_2_1-choice_6-label" for="input_62b61d4023b547cb985e7e06f58ebe28_2_1_choice_6" class="response-label field-label label-inline" aria-describedby="status_62b61d4023b547cb985e7e06f58ebe28_2_1"> Kiyochika's series succeeded in transcending imitation of a legendary printmaker
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<legend id="c7426986137e4935a271974cf772d785_2_1-legend" class="response-fieldset-legend field-group-hd">What steps did Dr. Ulak and the museum staff take in organizing the "Kiyochika: Master of the Night" exhibition?</legend>
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<input type="checkbox" name="input_c7426986137e4935a271974cf772d785_2_1[]" id="input_c7426986137e4935a271974cf772d785_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="c7426986137e4935a271974cf772d785_2_1-choice_0-label" for="input_c7426986137e4935a271974cf772d785_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_c7426986137e4935a271974cf772d785_2_1"> they reviewed Kiyochika&#8217;s full series and pared it down to a smaller subset for display
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<input type="checkbox" name="input_c7426986137e4935a271974cf772d785_2_1[]" id="input_c7426986137e4935a271974cf772d785_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="c7426986137e4935a271974cf772d785_2_1-choice_1-label" for="input_c7426986137e4935a271974cf772d785_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_c7426986137e4935a271974cf772d785_2_1"> they decided that the series would only make sense if they showed the full set
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<input type="checkbox" name="input_c7426986137e4935a271974cf772d785_2_1[]" id="input_c7426986137e4935a271974cf772d785_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="c7426986137e4935a271974cf772d785_2_1-choice_2-label" for="input_c7426986137e4935a271974cf772d785_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_c7426986137e4935a271974cf772d785_2_1"> they studied the imagery and divided the exhibition into nine themes
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<input type="checkbox" name="input_c7426986137e4935a271974cf772d785_2_1[]" id="input_c7426986137e4935a271974cf772d785_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="c7426986137e4935a271974cf772d785_2_1-choice_3-label" for="input_c7426986137e4935a271974cf772d785_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_c7426986137e4935a271974cf772d785_2_1"> they bookended the exhibition with the artist&#8217;s bio at the beginning, and his later work after the series
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<input type="checkbox" name="input_c7426986137e4935a271974cf772d785_2_1[]" id="input_c7426986137e4935a271974cf772d785_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="c7426986137e4935a271974cf772d785_2_1-choice_4-label" for="input_c7426986137e4935a271974cf772d785_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_c7426986137e4935a271974cf772d785_2_1"> they lit the exhibition brightly to make sure the prints could be seen
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<div class="field">
<input type="checkbox" name="input_c7426986137e4935a271974cf772d785_2_1[]" id="input_c7426986137e4935a271974cf772d785_2_1_choice_5" class="field-input input-checkbox" value="choice_5"/><label id="c7426986137e4935a271974cf772d785_2_1-choice_5-label" for="input_c7426986137e4935a271974cf772d785_2_1_choice_5" class="response-label field-label label-inline" aria-describedby="status_c7426986137e4935a271974cf772d785_2_1"> they wrote wall texts for each of the themes that talked about Tokyo as Kiyochika was depicting it
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<h3 class="hd hd-3 problem-header" id="3a68022e108b491fa2967e9aba1236fa-problem-title" aria-describedby="block-v1:MITx+VTx+1T2019+type@problem+block@3a68022e108b491fa2967e9aba1236fa-problem-progress" tabindex="-1">
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<legend id="3a68022e108b491fa2967e9aba1236fa_2_1-legend" class="response-fieldset-legend field-group-hd">Kiyochika produced and sold war prints for the two wars fought in Manchuria during the Meiji era, one with China (1894&#8211;95) and the other with Russia (1904&#8211;05). Which statements are most likely true of Japan&#8217;s modernization?</legend>
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<input type="checkbox" name="input_3a68022e108b491fa2967e9aba1236fa_2_1[]" id="input_3a68022e108b491fa2967e9aba1236fa_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="3a68022e108b491fa2967e9aba1236fa_2_1-choice_0-label" for="input_3a68022e108b491fa2967e9aba1236fa_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_3a68022e108b491fa2967e9aba1236fa_2_1"> the infrastructures of mass production, efficient communication, and transportation led to relatively easy mobilization for war
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<input type="checkbox" name="input_3a68022e108b491fa2967e9aba1236fa_2_1[]" id="input_3a68022e108b491fa2967e9aba1236fa_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="3a68022e108b491fa2967e9aba1236fa_2_1-choice_1-label" for="input_3a68022e108b491fa2967e9aba1236fa_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_3a68022e108b491fa2967e9aba1236fa_2_1"> like other artists, Kiyochika was drawn to visual documentation of railroad transportation, telegraphic communication, gas-fueled lighting, steam-powered river and ocean vessels, and new materials for bridges and buildings that flourished in just two decades
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<input type="checkbox" name="input_3a68022e108b491fa2967e9aba1236fa_2_1[]" id="input_3a68022e108b491fa2967e9aba1236fa_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="3a68022e108b491fa2967e9aba1236fa_2_1-choice_2-label" for="input_3a68022e108b491fa2967e9aba1236fa_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_3a68022e108b491fa2967e9aba1236fa_2_1"> modernization in Japan was influenced solely by the influx of Western technology
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