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<h2 class="hd hd-2 unit-title">Day 15 – Divergent Print Movements</h2>
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<p>We come to an important point in Japanese woodblock printmaking: a divergence of print styles. Each style took a different approach to production and marketplace, and responded differently to Western influences and modernity. They are known as:</p>
<ul>
<ul>
<li><span style="font-size: 1em;"><em>Shin-Hanga</em> (”New Print“) movement dates from around 1915.</span></li>
<li><span style="font-size: 1em;"><em>Sōsaku-Hanga</em> (”Creative Print“) movement arose after the 1923 earthquake.</span></li>
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<p style="font-size: 16px; color: #313131; margin: 0px 0px 1.41575em; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><strong style="color: #3c3c3c; font-size: 1em; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;">Day 15</strong><b style="color: #3c3c3c; font-size: 1em; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;"> – Divergent Print Movements</b><span style="font-size: 1em;"> will cover:</span></p>
<ul>
<ul>
<li><span style="font-size: 1em;"><em>Shin-Hanga</em> (New Print): Pull toward Tradition </span></li>
<li><span style="font-size: 1em;"><em>Sōsaku-Hanga</em> (Creative Print): Pull toward Modernity
</span></li>
<li><span style="font-size: 1em;">“The Great Gate, Shiba, in Snow" by Kawase Hasui </span></li>
<li><span style="font-size: 1em;">
“Kiyosu Bridge” by Kawase Hasui </span></li>
<li><span style="font-size: 1em;">
“Eitai Bridge & Kiyosu Bridge” by Koizumi Kishio, 1928
</span></li>
<li><span style="font-size: 1em;">Comparative Looking & Discussion – Bridges </span></li>
</ul>
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<p><strong>Day 15 Quiz & Discussion – Tradition & Innovation </strong></p>
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<h2 class="hd hd-2 unit-title">”Shin-Hanga“ (New Print): Pull toward Tradition</h2>
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<p>The impetus to create the new <em>Shin-Hange</em> style came from publishers hoping to combat the waning popularity of the woodblock-print medium. We pick up the story with Kiyochika—the subject of Module II—who, along with many other artists, produced vast numbers of highly profitable wartime prints during the Sino-Japanese War (1894–1895). But, by the time of the Russo-Japanese War (1904–1905), the print medium was much less popular, and the prints suffered in quality:</p>
<blockquote>
<h5>Turn-of-the-century printmakers such as Kiyochika and his colleagues had enjoyed a brief moment of extraordinary productivity in depicting one of the most dramatic aspects of Japan’s emergence as a modern state—namely, its astonishingly successful engagement in up-to-date warfare against China (in 1894 to 1895) and Russia (1904 to 1905).</h5>
<h5>The new subject matter this offered was stunning. Massive warships engaged in great battles at sea. Huge artillery produced enormous explosions. The emperor’s disciplined soldiers and sailors confronted not feudal adversaries as in the past, but foreign armies and navies. (Ulak, ”Celebrating Place,‘ <em>Tokyo Modern—1</em>, MIT Visualizing Cultures)<br /><br /></h5>
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<p></p>
<p><img height="auto" width="100%" src="/assets/courseware/v1/b2218ed51420f7dfd1cf17351f4ad77f/asset-v1:MITx+VTx+1T2019+type@asset+block/Kiyochika_R-J_War_2000_074_l.jpg" alt="“Illustration of Our Torpedo Hitting Russian Ship at Great Naval Battle of Port Arthur” by Kobayashi Kiyochika, February 1904 [2000.074] Sharf Collection, Museum of Fine Arts, Boston" /></p>
<h5>Caption (above): “Illustration of Our Torpedo Hitting Russian Ship at Great Naval Battle of Port Arthur” by Kobayashi Kiyochika, February 1904 (Sharf Collection, Museum of Fine Arts, Boston [2000.074] )</h5>
<p></p>
<p>”By the first decade of the 20th century, however, the woodblock medium stood at a crossroads,“ Dr. Ulak writes. The long tradition of the woodblock print began to decline for a number of reasons: competition from newer media like photography: modern forms of reportage: and Western influence on the way news circulated and what audiences wanted to see.</p>
<p>A split took place between woodblock-print styles that reflected the pull between modernity and tradition. </p>
<blockquote>
<h5>By the first decade of the 20th century, however, the woodblock medium stood at a crossroads—confronted, as it were, by a sort of cultural schizophrenia that drew them toward Western-styled perceptions and expressions of modernity on the one hand and, on the other hand, more traditional forms and subjects.</h5>
<h5>In response, the modern print movement advanced along two distinct paths: the European-inspired expressionist direction exemplified by Hiratsuka and the <strong>s<em>ōsaku-hanga</em></strong> or “creative prints,” and a more traditional, idealized, and intellectually uninquisitive route known as <em><strong>shin-hanga</strong> or “new prints.”</em></h5>
<h5>The <em>shin-hanga</em> had considerable appeal, including among foreigners who were attracted to a romantic and “traditional” image of Japan that was, in considerable part, imaginary. It was artists working in the <em>sōsaku-hanga</em> medium, however, who more accurately captured the turbulence, contradictions, energy, and modernity of post-earthquake Tokyo. (Ulak, "Celebrating Place,“ <em>Tokyo Modern—1</em>, MIT Visualizing Cultures)</h5>
</blockquote>
<blockquote></blockquote>
<p></p>
<p>Dr. Ulak presents the divergence of print movements and <em>Shin-Hanga</em> in the following video:</p>
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<h3 class="hd hd-2">”Shin-Hanga“ (New Print) Movement</h3>
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<h2 class="hd hd-2 unit-title">”Sōsaku-Hanga“ (Creative Print): Pull toward Modernity</h2>
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<p>The woodblock print was dying, according to Oliver Statler, who has written a number of books on the <em>Sōsaku-Hanga</em> and other print movements. He argues that it was the Western influence that reinvigorated the medium, inspiring Japanese artists, just as Western artists had been fundamentally changed through the influence of Japanese art.</p>
<h5></h5>
<blockquote>
<h5>Despite the fact that artists like Kiyochika Kobayashi (1847-1915) had kept some life flickering in the traditional print, it is impossible to trace any direct connection from the dying <em>ukiyoe</em> to the new movement. The connection is by rebound from the West, and the new prints are the result of interaction between Japanese and western influences which continues to this day. (Statler, ”Modern Japanese Creative Prints,“ p. 113)</h5>
</blockquote>
<p>Statler interviewed many of the artists who drove the <em>Sōsaku-Hanga</em> movement, and who notably collaborated on the 100 views of Tokyo coming up in Module IV. Among the most skilled was Hiratsuka Un‘ichi, who you will recall made the series of earthquake prints. The following print from the series is an early example of the <strong><em>Sōsaku-Hanga</em> (Creative Print)</strong> style.</p>
<p></p>
<blockquote>
<h5>Hiratsuka [Un‘ichi] was an early practitioner of the fledgling <em>sōsaku-hanga</em> (creative prints) movement that, in theory if not always in practice, embraced printmaking as the creative act of one individual, including initial sketches, block carving, and impressing paper on to pigment-loaded blocks. Emulating European artists, Hiratsuka and others emphasized individual expression rather than the old tradition of guild-style production involving artists, woodblock cutters, printers and the like.</h5>
<h5>Seen against the backdrop of a trend in social liberalism, particularly during the 1910s and 20s, creating prints in this style allowed the medium to be used as a sounding board of personal expression relating to social issues. Prints by sōsaku-hanga artists were not to be confused with the socialist and communist posters and prints that circulated during the first thirty years of the 20th century, or with paintings and photographs that conveyed searing social messages. In early 20th-century Japan, publishers, designers, artists, and technicians who favored the woodblock format were consciously striving to redefine themselves as inheritors of a medium that had fallen out of favor and been usurped by the technologies of mass-image production. (Ulak, ”Celebrating Place,“ <em>Tokyo Modern—1</em>, MIT Visualizing Cultures)</h5>
<h5></h5>
</blockquote>
<p>In this example, Ulak notes how the choice of subject matter and place reflected the changing style:</p>
<blockquote>
<h5>As time passed, of course, new artistic conventions were introduced and new places were commemorated alongside more traditional ones. In his early 12-print rendering of Tokyo after the earthquake, for example, Hiratsuka Un’ichi chose to include the Russian Orthodox Nicolai Cathedral, obviously a relatively recent Western addition to the Tokyo skyline.</h5>
<h5></h5>
<h5>At the same time, there were two revolutionary developments embedded in these ostensibly “naive” prints: production method and subject matter. Hiratsuka’s images were direct and rough. Every site was immediately recognizable, but the materials and tools of production were never disguised. There was no artifice of technique to suggest that these images were other than transferences from an engraved wood surface to paper.</h5>
<h5></h5>
<h5>Moreover, a print series completely devoted to impressions of urban destruction—each of the 12 prints notably devoid of human form—was unheard of. Despite a significant tradition of the visual celebration of recovery from destruction, hard-eyed views of ruins were quite unexpected. (Ulak, ”Celebrating Place,“ <em>Tokyo Modern—1</em>, MIT Visualizing Cultures)</h5>
</blockquote>
<h6 style="padding-left: 30px;"></h6>
<p>See below for Professor Weisenfeld‘s commentary on Un‘ichi‘s print.</p>
<p></p>
<h6><img height="auto" width="100%" src="/assets/courseware/v1/0cb1050d128eca22766456fb3ff1a9b8/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8018_1925_hiratsuka_nikolai_1500w.jpg" alt="The Russian Orthodox Nicolai Cathedral with damaged dome and tents for homeless, woodblock print by Hiratsuka Un'Ichi, 1925, Japan" /></h6>
<h6></h6>
<h5>Caption (above): Hiratsuka Un‘ichi, ’The Russian Orthodox Nicolai Cathedral with Damaged Dome and Tents for Homeless,“ woodblock print, 1925. (Five College Museums/Historic Deerfield Collections)</h5>
<p></p>
<p>The stark prints in Un'ichi‘s series convey the sense of the loss in the disaster‘s aftermath, portraying the decimated and barren habitation around Tokyo. In <em>Imaging Disaster</em>, Professor Weisenfeld analyses the Un‘ichi print as an example of post earthquake visualization genre, citing the roughness of their style and monochromatic palette as intentional aspects of their bleak outlook:</p>
<p></p>
<blockquote>
<h5>The Nikoraidō (as the Nikolai Russian Orthodox church in Ochanomizu was commonly called in Japanese) was one of the most iconic modern sites of ruin in the capital. … When the dome fell and the interior was burned during the quake, a striking ruin remained, making the structure as symbolic in destruction as it had been in its grand position above the city. Visualizations of the destroyed church, stripped of its elegant dome and steeple, serve as visual lamentations. A series of twelve woodblock prints by skilled woodcarver and leading figure in the creative prints movement Hiratsuka Unichi (1895–1997), <em>Scenes after the Tokyo Earthquake</em> (Tōkyō Shinsai ato fūkei, 1925), present a forlorn and eerily silent city, devoid of human beings, stony reminders of their absence. The famous church silhouette stands amid burnt trees as it towers over a cluster of makeshift tents and barracks. The roughness of Unichi’s woodblock carving style replicates the effect of chiseled stone, contributing to the image’s epitaphic solemnity. Two different printings of Unichi’s work show his experimentation with inking, with images becoming even more somber and lifeless as they are almost entirely denuded of color. (Weisenfeld, <em>Imaging Disaster</em>, University of California Press, Kindle Edition)</h5>
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<h3 class="hd hd-2">Market for ”Shin-Hanga“ & ” Sōsaku-Hanga“</h3>
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<h2 class="hd hd-2 unit-title">“The Great Gate, Shiba, in Snow“ by Kawase Hasui</h2>
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<p>Shin-Hanga “used the traditional guild production process to create richly refined woodblock prints of bird-and-flower subjects, female beauties, and neo-romantic scenes.“ (Ulak, <em>Tokyo Modern—1</em>)</p>
<p>The discussion centers on two prints by Kawase Hasui in the Shin-Hanga style, but even in serene prints like “The Great Gate, Shiba, in Snow," subtexts and hints of modernity appear.</p>
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<h3 class="hd hd-2">Hasui's Shin-Hanga: Romantic Tradition with Subtext</h3>
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<h5><br />Caption (above): “Tennōji Temple in Snow, Osaka #139, 1927, by Kawase Hasui [S2003.8.686](Arthur M. Sackler Gallery, Smithsonian Institution, Robert O. Muller Collection)<br /><br /><br /></h5>
<div>Many renderings by artists working in the “new print” mode conveyed a sense of timeless and unchanging tradition, even while occasionally romanticizing the intrusion of modernity, as in the example below: “The Great Gate, Shiba, in Snow,“ 1936, by Kawase Hasui.<br /><br /></div>
<div><img height="auto" width="100%" src="/assets/courseware/v1/c60e45f0197a9d047da45d35c657c366/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8853_1936_S20038853_hasui_car_2000w.jpg" alt="The Great Gate, Shiba, in Snow,“ 1936, by Kawase Hasuiō (S2003.8.853)" /></div>
<h5><br />Caption (above): “The Great Gate, Shiba, in Snow,“ 1936, by Kawase Hasui, [S2003.8.853] (Arthur M. Sackler Gallery, Smithsonian Institution, Robert O. Muller Collection)</h5>
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<h2 class="hd hd-2 unit-title">“Kiyosu Bridge” by Kawase Hasui</h2>
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<p>Like the ”master of the night“ Kobayashi Kiyochika,<em> Shin-Hanga</em> artist Kawase Hasui set his image of “Kiyosu Bridge“ (1936) during the ”magic hour“ as the sky darkens and lights come on in the evening. The view casts the modern bridge in a romantic light.</p>
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<p><img height="auto" width="100%" src="/assets/courseware/v1/d378c9d28b34271eaef4ee703d386c6e/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8761_1931_S20038761_kiyosu-bridge_2000w.jpg" alt="Caption: “Kiyosu Bridge,” 1936, by Kawase Hasui, Arthur M. Sackler Gallery, Smithsonian Institution, Robert O. Muller Collection (S2003.8.761), from “Tokyo Modern I,” MIT Visualizing Cultures" /></p>
<h5>Caption: “Kiyosu Bridge,” 1936, by Kawase Hasui [S2003.8.761] (Arthur M. Sackler Gallery, Smithsonian Institution, Robert O. Muller Collection)</h5>
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<h3 class="hd hd-2">“Kiyosu Bridge” by Kawase Hasui</h3>
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<h2 class="hd hd-2 unit-title">“Eitai Bridge & Kiyosu Bridge” by Koizumi Kishio, 1928</h2>
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<p style="font-size: 16px; text-rendering: optimizeLegibility; margin-top: 0px; margin-right: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-stretch: inherit; vertical-align: baseline; color: #313131;">Koizumi Kishio launched his “100 Views of Great Tokyo in the Shōwa Era” in the fall of 1928 with this image of two bridges spanning the Sumida River, “Eitai Bridge & Kiyosu Bridge.“ The steel structures, rivets, electric lights symbolized the city‘s reconstruction, and the Western-clothed figures embodied its modernity. Koizumi's annotation for this print references Tokyo‘s recovery:</p>
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<h5><span color="#313131" face="Open Sans, Helvetica Neue, Helvetica, Arial, sans-serif" style="color: #313131; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><span style="caret-color: #313131;">“City Hall was very proud of the rapid construction of bridges that form the base of the recovery.” (<em>Eitai Bridge and Kiyosu Bridge</em> (#1), September 1928)</span></span></h5>
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<p>Dr. Ulak's exhibition notes on the print discuss the importance of these bridges:</p>
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<h5>A plan for reconstruction was quickly put into place, with the rebuilding of Tokyo‘s bridges across the Sumida River representing the first step. In the fall of 1928, Koizumi launched his print portfolio with this view of two bridges spanning the Sumida River, the Eitai and the Kiyosu. The newly built bridges became a powerful symbol of the city‘s reconstruction. These ultra-modern steel structures, which were enhanced by electric lights, replaced the graceful wooden structures immortalized by Ando Hiroshige (1797-1858), a celebrated nineteenth-century printmaker. The Eitai Bridge (Bridge of Eternal Ages) was itself a symbol of Tokyo‘s emergence as a modern, industrial city. It connected the city‘s downtown with the industrial section across the river. The young woman and young men dressed in stylish, Western clothing complement the modern appearance of the city. (Ulak, <em>Tokyo Modern—III</em>, Visualizing Cultures)<br /><br /></h5>
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<p><img height="auto" width="100%" src="/assets/courseware/v1/b5e097532c53e0cc28af8093eb8498b8/asset-v1:MITx+VTx+1T2019+type@asset+block/kk001_1928_w107_bridges_eitai_c_2000w.jpg" alt="Koizumi Kishio, “Eitai Bridge and Kiyosu Bridge (#01),” woodblock print, September 1928. Courtesy of the Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection, from MIT Visualizing Cultures" /></p>
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<h5>Caption: Koizumi Kishio, “Eitai Bridge and Kiyosu Bridge (#01),” woodblock print, September 1928 (Courtesy of the Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection)</h5>
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<h3 class="hd hd-2">“Eitai Bridge & Kiyosu Bridge” by Koizumi Kishio</h3>
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<h2 class="hd hd-2 unit-title">Comparative Looking: Bridges</h2>
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<p><span style="caret-color: #313131; color: #313131; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif;">Take a moment to compare the two bridge prints: Hasui's ”Kiyosu Bridge“ of 1936 and Koizumi‘s ”Eitai and Kiyosu Bridge“ of 1925. </span>Next, photographs on vintage postcards show the bridges. What do they add to your understanding? Finally, a bird's-eye view of Tokyo's Sumida River allows you to identify the two bridges today (you can use a magnifier tool to get a close look).</p>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/d378c9d28b34271eaef4ee703d386c6e/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8761_1931_S20038761_kiyosu-bridge_2000w.jpg" alt="“Kiyosu Bridge,” 1936, by Kawase Hasui, Arthur M. Sackler Gallery, Smithsonian Institution, Robert O. Muller Collection (S2003.8.761), from “Tokyo Modern I,” MIT Visualizing Cultures" /></div>
<h5><br />Caption (above): “Kiyosu Bridge,” 1936, by Kawase Hasui (Arthur M. Sackler Gallery, Smithsonian Institution, Robert O. Muller Collection [S2003.8.761])<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/b5e097532c53e0cc28af8093eb8498b8/asset-v1:MITx+VTx+1T2019+type@asset+block/kk001_1928_w107_bridges_eitai_c_2000w.jpg" alt="Caption: “Eitai Bridge and Kiyosu Bridge (#01),” by Koizumi Kishio, woodblock print, September 1928. The first in his series of 100 views of Tokyo, courtesy of the Wolfsonian Museum, from "Tokyo Modern I," MIT Visualizing Cultures" /></div>
<h5><br />Caption (above): “Eitai Bridge and Kiyosu Bridge (#01),” by Koizumi Kishio, woodblock print, September 1928. The first in his series of 100 views of Tokyo (Courtesy of the Wolfsonian Museum)</h5>
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<label class="poll-answer-text" for="poll-dcec52125c844bf39704e5cd98a575ba-answer-R"><p>Hasui's 1936 Kiyosu Bridge print</p></label>
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<p>The two bridges appear in many ephemera, here, vintage postcards. (The truck looks like a Ford Model TT, sold from 1917-1927, but that would definitely need more research into models, and whether these made their way to Japan!)</p>
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<p><img height="auto" width="100%" src="/assets/courseware/v1/f89e769ef57bc758a722f734dcf19d02/asset-v1:MITx+VTx+1T2019+type@asset+block/bridge-kiyosu_9337_Tokyo_postcard_sebring_2000w.jpg" alt="Postcard with English caption, "Greater Tokyo, Kiyosu Bridge," color photograph, 1910-1930s" /></p>
<h5>Caption (above): Postcard with English caption, "Greater Tokyo, Kiyosu Bridge," color photograph, 1910-1930s (source: MIT Visualizing Cultures)</h5>
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<p><img height="auto" width="100%" src="/assets/courseware/v1/7e425369ef6888d6f6616372d47431e1/asset-v1:MITx+VTx+1T2019+type@asset+block/bridge_eitai-postcard_9344_sebring_2000w.jpg" alt="Postcard with English caption, "Greater Tokyo, Eitai Bridge," color photograph, 1910-1930s (source: MIT Visualizing Cultures)" /></p>
<h5>Caption (above): Postcard with English caption, "Greater Tokyo, Eitai Bridge," color photograph, 1910-1930s (source: MIT Visualizing Cultures)</h5>
<p></p>
<p></p>
<p><strong>Sumida River Bridges - [magnifier option: click on image to open]</strong></p>
<p>Some 26 bridges span the Sumida River today. The image from Google Earth below captures the Kiyosu Bridge on the left and Eitai Bridge on the right, both looking very similar to the woodblock prints. Can you recreate Koizumi's view?</p>
<p>Click on the image, or press the spacebar to open the magnifier.<br /><br /></p>
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<h2 class="hd hd-2 unit-title">Day 15 Quiz and Discussion – Tradition & Innovation</h2>
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<p>Several different prints are introduced below to further examine the divergent print movements, followed by a discussion.</p>
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Dropdown - Shin-Hanga / Sōsaku-hanga
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<label class="problem-group-label" for="input_d8f7a16c85e145079477255190c54c61_3_1" id="label_d8f7a16c85e145079477255190c54c61_3_1">Which print movement became popular after World War 2?</label>
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<span class="status unanswered" id="status_d8f7a16c85e145079477255190c54c61_4_1" data-tooltip="Not yet answered.">
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<p class="answer" id="answer_d8f7a16c85e145079477255190c54c61_4_1"/>
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<span class="status unanswered" id="status_d8f7a16c85e145079477255190c54c61_6_1" data-tooltip="Not yet answered.">
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<p class="answer" id="answer_d8f7a16c85e145079477255190c54c61_6_1"/>
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<label class="problem-group-label" for="input_d8f7a16c85e145079477255190c54c61_7_1" id="label_d8f7a16c85e145079477255190c54c61_7_1">Which print movement made the block-cutting and transfer process transparent in the final print?</label>
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<option value="Shin-Hanga"> Shin-Hanga</option>
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<p><strong>Tokyo Station by </strong><b>Kōshirō Onchi</b></p>
<p>This print of Tokyo Station is by another of the eight artists you will encounter in Module IV as part of the ”100 Views of Tokyo,“ in this case the well-known artist <strong>Kōshirō Onchi</strong>.</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/5ed2e9eb7e0584745ac51a44ca67efa0/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_038_1929-32_Onchi_Tokyo-Station-38_2000w.jpg" alt="Tokyo Station (#38), ca. 1929-1932, woodblock print by Kōshirō Onchi" /></div>
<h5><br />Caption: ”Tokyo Station“ (#38), ca. 1929–1932, woodblock print by Kōshirō Onchi (courtesy Carnegie Museum of Art)</h5>
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<h3 class="hd hd-3 problem-header" id="42e01fd523b14504878ecc82eab4cb15-problem-title" aria-describedby="block-v1:MITx+VTx+1T2019+type@problem+block@42e01fd523b14504878ecc82eab4cb15-problem-progress" tabindex="-1">
Checkboxes
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<div class="problem-progress" id="block-v1:MITx+VTx+1T2019+type@problem+block@42e01fd523b14504878ecc82eab4cb15-problem-progress"></div>
<div class="problem">
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 1" role="group"><div class="choicegroup capa_inputtype" id="inputtype_42e01fd523b14504878ecc82eab4cb15_2_1">
<fieldset aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1">
<legend id="42e01fd523b14504878ecc82eab4cb15_2_1-legend" class="response-fieldset-legend field-group-hd">Check all that apply to the above print, Tokyo Station, by K&#333;shir&#333; Onchi:</legend>
<div class="field">
<input type="checkbox" name="input_42e01fd523b14504878ecc82eab4cb15_2_1[]" id="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="42e01fd523b14504878ecc82eab4cb15_2_1-choice_0-label" for="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1"> it is from the Shin-Hanga movement
</label>
</div>
<div class="field">
<input type="checkbox" name="input_42e01fd523b14504878ecc82eab4cb15_2_1[]" id="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="42e01fd523b14504878ecc82eab4cb15_2_1-choice_1-label" for="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1"> it is from the S&#333;saku-Hanga movement
</label>
</div>
<div class="field">
<input type="checkbox" name="input_42e01fd523b14504878ecc82eab4cb15_2_1[]" id="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="42e01fd523b14504878ecc82eab4cb15_2_1-choice_2-label" for="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1"> it is a romantic view of Tokyo Station
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<input type="checkbox" name="input_42e01fd523b14504878ecc82eab4cb15_2_1[]" id="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="42e01fd523b14504878ecc82eab4cb15_2_1-choice_3-label" for="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1"> it has elements of modernity
</label>
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<input type="checkbox" name="input_42e01fd523b14504878ecc82eab4cb15_2_1[]" id="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="42e01fd523b14504878ecc82eab4cb15_2_1-choice_4-label" for="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1"> the sky and textures are blended and delicate
</label>
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<div class="field">
<input type="checkbox" name="input_42e01fd523b14504878ecc82eab4cb15_2_1[]" id="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_5" class="field-input input-checkbox" value="choice_5"/><label id="42e01fd523b14504878ecc82eab4cb15_2_1-choice_5-label" for="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_5" class="response-label field-label label-inline" aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1"> the woodcuts are raw and sharp
</label>
</div>
<div class="field">
<input type="checkbox" name="input_42e01fd523b14504878ecc82eab4cb15_2_1[]" id="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_6" class="field-input input-checkbox" value="choice_6"/><label id="42e01fd523b14504878ecc82eab4cb15_2_1-choice_6-label" for="input_42e01fd523b14504878ecc82eab4cb15_2_1_choice_6" class="response-label field-label label-inline" aria-describedby="status_42e01fd523b14504878ecc82eab4cb15_2_1"> it could be from almost any time in Japan&#8216;s history
</label>
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<span id="answer_42e01fd523b14504878ecc82eab4cb15_2_1"/>
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<p><strong>”Rain at Shuzenji, Izu“ by Kawase Hasui</strong></p>
<p>Take a look at this print and answer the question below. The description provided by the Freer Gallery of Art reads:</p>
<blockquote>
<h5>According to legend, the Buddhist priest Kūkai (known posthumously as Kōbōdaishi) visited this site on the Izu Peninsula, southwest of Tokyo, in 807. There, he observed a young boy bathing his sick father in the shallows of the river. Deeply moved, Kūkai struck a rock, and the . . . waters of a hot spring surged forth. Here, a simple wood structure over the hot spring shelters bathers on a rainy night. The illumination from within the bath and the hotel evokes a sense of comfort and warmth on a slightly inhospitable night. (text: Freer Gallery of Art, Smithsonian Institution)</h5>
</blockquote>
<div><img height="auto" width="100%" src="/assets/courseware/v1/d94a2a4191165865f4617044803fe5fe/asset-v1:MITx+VTx+1T2019+type@asset+block/Rain_at_Shuzenji_Izu_by_Hasui_1933_S2003.8.810_f-s_2000w.jpg" alt=""Rain at Shuzenji, Izu" by Kawase Hasui (1883-1957) Japan, 1933 Woodblock print; ink and color on paper Arthur M. Sackler Gallery, Robert O. Muller Collection S2003.8.810, Smithsonian Institution" /></div>
<h5><br />Caption (above): ”Rain at Shuzenji, Izu,“ 1933, by Kawase Hasui (1883-1957). Woodblock print; ink and color on paper (Arthur M. Sackler Gallery, Robert O. Muller Collection, Smithsonian Institution [S2003.8.810])<a href="https://asia.si.edu/exhibition/the-quality-of-light/#jp-carousel-457018" target="_blank"></a></h5>
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Checkboxes
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<div class="problem-progress" id="block-v1:MITx+VTx+1T2019+type@problem+block@81669941bd3a4f99a307835328f81b46-problem-progress"></div>
<div class="problem">
<div>
<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 1" role="group"><div class="choicegroup capa_inputtype" id="inputtype_81669941bd3a4f99a307835328f81b46_2_1">
<fieldset aria-describedby="status_81669941bd3a4f99a307835328f81b46_2_1">
<legend id="81669941bd3a4f99a307835328f81b46_2_1-legend" class="response-fieldset-legend field-group-hd">Check all that apply to the above print, Rain at Shuzenji, Izu, by Hasui:</legend>
<div class="field">
<input type="checkbox" name="input_81669941bd3a4f99a307835328f81b46_2_1[]" id="input_81669941bd3a4f99a307835328f81b46_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="81669941bd3a4f99a307835328f81b46_2_1-choice_0-label" for="input_81669941bd3a4f99a307835328f81b46_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_81669941bd3a4f99a307835328f81b46_2_1"> it is from the Shin-Hanga movement
</label>
</div>
<div class="field">
<input type="checkbox" name="input_81669941bd3a4f99a307835328f81b46_2_1[]" id="input_81669941bd3a4f99a307835328f81b46_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="81669941bd3a4f99a307835328f81b46_2_1-choice_1-label" for="input_81669941bd3a4f99a307835328f81b46_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_81669941bd3a4f99a307835328f81b46_2_1"> it is from the S&#333;saku-Hanga movement
</label>
</div>
<div class="field">
<input type="checkbox" name="input_81669941bd3a4f99a307835328f81b46_2_1[]" id="input_81669941bd3a4f99a307835328f81b46_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="81669941bd3a4f99a307835328f81b46_2_1-choice_2-label" for="input_81669941bd3a4f99a307835328f81b46_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_81669941bd3a4f99a307835328f81b46_2_1"> it is a romantic view
</label>
</div>
<div class="field">
<input type="checkbox" name="input_81669941bd3a4f99a307835328f81b46_2_1[]" id="input_81669941bd3a4f99a307835328f81b46_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="81669941bd3a4f99a307835328f81b46_2_1-choice_3-label" for="input_81669941bd3a4f99a307835328f81b46_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_81669941bd3a4f99a307835328f81b46_2_1"> it has elements of modernity
</label>
</div>
<div class="field">
<input type="checkbox" name="input_81669941bd3a4f99a307835328f81b46_2_1[]" id="input_81669941bd3a4f99a307835328f81b46_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="81669941bd3a4f99a307835328f81b46_2_1-choice_4-label" for="input_81669941bd3a4f99a307835328f81b46_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_81669941bd3a4f99a307835328f81b46_2_1"> the sky and textures are blended and delicate
</label>
</div>
<div class="field">
<input type="checkbox" name="input_81669941bd3a4f99a307835328f81b46_2_1[]" id="input_81669941bd3a4f99a307835328f81b46_2_1_choice_5" class="field-input input-checkbox" value="choice_5"/><label id="81669941bd3a4f99a307835328f81b46_2_1-choice_5-label" for="input_81669941bd3a4f99a307835328f81b46_2_1_choice_5" class="response-label field-label label-inline" aria-describedby="status_81669941bd3a4f99a307835328f81b46_2_1"> the woodcuts are raw and sharp
</label>
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<p>Discussion – Tradition & Innovation</p>
<p>Using the two prints as a reference, how do you think the two print movements expressed Japan‘s culture? Was <em>Shin-Hanga,</em> while carrying on the long tradition of guild-style collaboration, also influenced by Western painting? Was that, in a way, modern and innovative? </p>
<p><span style="font-size: 1em;">Conversely, was <em>Sōsaku-Hanga,</em> with its cosmopolitan subject matter and focus on individual artistic expression somehow less Japanese? </span><span style="font-size: 1em;">How does the emotional impact of the two styles differ?</span></p>
<p>Hasui <img height="auto" width="40%" src="/assets/courseware/v1/d94a2a4191165865f4617044803fe5fe/asset-v1:MITx+VTx+1T2019+type@asset+block/Rain_at_Shuzenji_Izu_by_Hasui_1933_S2003.8.810_f-s_2000w.jpg" alt=""Rain at Shuzenji, Izu" by Kawase Hasui (1883-1957) Japan, 1933 Woodblock print; ink and color on paper Arthur M. Sackler Gallery, Robert O. Muller Collection S2003.8.810, Smithsonian Institution" /> Onchi <img height="auto" width="40%" src="/assets/courseware/v1/5ed2e9eb7e0584745ac51a44ca67efa0/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_038_1929-32_Onchi_Tokyo-Station-38_2000w.jpg" alt="Tokyo Station (#38), c. 1929-1932, woodblock print by Kōshirō Onchi, From Tokyo Modern—II, MIT Visualizing Cultures" /></p>
<h5>Left: ”Rain at Shuzenji, Izu,“ woodblock print by Kawase Hasui, 1933. Right: ”Tokyo Station“ (#38), woodblock print by Kōshirō Onchi, ca. 1929–1932</h5>
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