Spring at Pyongyang (Pubyok Pavilion from Moran Hill) 1939

Editor: This is Hasui Kawase's "Spring at Pyongyang (Pubyok Pavilion from Moran Hill)," a woodblock print from 1939. I find the colors so peaceful and calming. What draws your attention to this print? Curator: The work immediately pulls me into thinking about its historical context. Kawase created this image during the Japanese occupation of Korea. Given that, what does it mean for a Japanese artist to depict a well-known site in Pyongyang, which was undergoing significant changes due to Japanese colonial policies? How does this peaceful imagery obscure the reality of the occupation? Editor: So the scene's tranquility could be masking the complexities of the time period. Is the inclusion of Korean dress by the water's edge an intentional detail by Kawase? Curator: Exactly. It might seem a quaint scene but think about the viewers. Was it intended for Japanese consumers at home, as a kind of picturesque souvenir? Or was it exhibited locally, serving as propaganda promoting a harmonious vision of Japanese rule? Also, consider how the artist chooses to portray Korean culture. Is it an authentic representation, or a romanticized view influenced by Japanese sensibilities? Editor: That is quite insightful. I hadn’t considered the political implications. So much for my initial peaceful reaction! Curator: It's essential to dig beyond first impressions! Considering these factors adds another layer to how we understand this print and the artist's role in documenting and shaping perceptions of a specific historical moment. The act of looking can involve political assumptions. Editor: I see this work in a whole new light now. Thank you! Curator: It has been my pleasure, the history helps unpack such imagery.