China in 30 rolschilderingen - laatste deel Possibly 1920 - 1925

Editor: This captivating work is titled "China in 30 rolschilderingen - laatste deel," a woodblock print by Fukuda Bisen, possibly created between 1920 and 1925. I’m immediately drawn to the serene atmosphere, despite the dramatic cliffs. What's your take on how this piece reflects its cultural context? Curator: Well, it's essential to recognize this print exists not in a vacuum, but within a complex web of social and political circumstances. Ukiyo-e, especially landscape prints, often served a dual purpose. On the surface, they depict the beauty of nature, catering to a growing urban audience with an interest in travel and leisure. However, they also, consciously or not, became tied to a cultural assertion of identity. How do you see the relationship between landscape and identity here? Editor: I guess it’s suggesting that the ideal, beautiful version of "China" would naturally also appeal to tourists and consumers of art prints? Almost like a symbol of national pride available for purchase. Curator: Precisely! We must consider the museum's role in exhibiting and shaping the reception of art like this, elevating regional styles to the national level and integrating artworks into political discourse about culture and power. Can you think of ways the art market played a role here? Editor: The prints made them accessible to a wide audience. Curator: Exactly, thus disseminating the cultural values implicit in the landscapes further than if these had only been viewed by a select few, perhaps strengthening the public's feeling of unity. It seems simple, but the history here is complex. Editor: That's fascinating, seeing the image through that historical lens really changes how I understand it. Curator: Agreed. Thinking about who benefits from such representations of culture helps uncover the socio-political underpinnings. This intersection of artistic expression and cultural narrative provides a broader and deeper understanding.