Running Horses 1964

Editor: So, this is Tadashi Nakayama’s "Running Horses," a woodblock print from 1964. It feels almost like a blur of motion, a kind of abstracted energy. What do you see in this piece? Curator: What I see is a compelling commentary on tradition versus modernity. Nakayama was working in postwar Japan, a period of intense social and political change. The horse, of course, is an ancient symbol, appearing in art across many cultures for millennia. What happens when we render it through geometric abstraction? Editor: It disrupts that tradition, definitely. Curator: Precisely! Think about what abstraction represents. It breaks from the representational, from established visual languages. By abstracting the horse, Nakayama isn’t just depicting animals; he’s questioning fixed notions of culture and representation. It also reflects the social changes, such as increasing industrialisation that impacted many people's living conditions. Editor: So the movement he captures isn’t just the horses, but also societal movement? Curator: Absolutely. The work raises broader questions about the social order in post-war Japan, the shifting nature of power dynamics and class, particularly. The texture of the woodblock itself, what does that add to this sense of flux? Editor: It adds an earthy quality to the futuristic lines, I guess? A material contrast... I hadn’t thought about it that way. Curator: Exactly! Consider how these layered meanings create space for the viewer to insert themselves into the narrative, reflect on history, and its place in contemporary consciousness. Editor: It makes me see it with completely fresh eyes. Thanks. Curator: Likewise, it is enlightening to reconsider it alongside you!