De aanval op Jiuliancheng in Mantsjoerije 1894

Curator: So much chaos! Is it just me, or can you almost hear the clanging of steel and the shouts in this print? Editor: You've nailed it. It's visceral. Before us is Nakamura Shūko's "The Attack on Jiuliancheng in Manchuria," created in 1894. It's a woodblock print, part of the Ukiyo-e tradition, depicting a scene from the First Sino-Japanese War. Curator: It’s interesting how this print captures a specific historical event. But Ukiyo-e…I thought that was all courtesans and landscapes! Editor: Well, the genre evolved. This serves as a powerful example of art becoming a form of wartime propaganda. See how the Japanese soldiers are presented? Imposing, modern, organized... quite the contrast to their adversaries. Curator: Right, there’s a clear power dynamic being presented here. It's fascinating how the artist uses the medium – a print – to disseminate this message widely. A deliberate strategy, wouldn’t you agree? Editor: Absolutely. Woodblock prints made art accessible, so these heroic portrayals reached a broad audience, shaping public opinion and bolstering support for the war effort. Plus, notice the impasto-like texture…that’s not typical, adding a really tangible sense of drama. Curator: Looking closer, it feels so constructed, so staged. Is that to underscore that it is designed as narrative and persuasive image making rather than documentary? Editor: It’s a performance of power. Every element, from the composition to the coloring, works to convey a specific message about Japanese strength and military prowess. What's especially jarring is how the dynamism of Ukiyo-e translates into celebrating something as brutal as warfare. Curator: You’re right. The narrative of triumphant strength is unmistakable, but I think the overall effect leaves me feeling uneasy when I reflect upon its impact on perceptions and the realities obscured. Editor: Exactly. It’s beautiful, yes, but loaded, and now that’s sunk in, I won't soon forget that.