Een bloemlezing van gehoorde dingen, heden en verleden (variant) c. 1890 - 1900

Curator: Looking at this artwork is immediately unnerving, isn't it? The way the snake dominates the frame... Editor: Indeed. Let's delve into this print. What we have here is "An Anthology of Heard Things, Past and Present (Variant)," a woodblock print created circa 1890-1900. It's attributed to Totoya Hokkei, and resides in the Rijksmuseum. Curator: The composition is fascinating. That strong diagonal line of the snake, the way its body coils, contrasting against what appears to be a stack of fruit on a box, gives it a sense of movement that's almost jarring against the static nature of the print medium. Editor: And what context do we have surrounding pieces of ukiyo-e like these? During the late 19th century, ukiyo-e prints began circulating more widely, contributing to a growing global fascination with Japan. This, however, can come at the price of viewing ukiyo-e through an exoticizing, Western lens. Curator: Speaking of the West, one can immediately make parallels with Biblical temptation or images from classical antiquity. That serpent certainly occupies a position of authority. Editor: The animal might embody an ambivalence toward nature itself; a reminder of its raw power and unknowable essence. It's an almost primal image that also ties into contemporary beliefs and practices that revolved around folk religion and shamanism during Hokkei’s time. Curator: The stark red of its eye certainly gives it a commanding presence. Editor: Exactly. The formal elements work together to convey a powerful impression; one that extends far beyond the simple representation of an animal. Curator: Understanding the cultural implications certainly enriches my reading of it. I can appreciate the layers of meaning interwoven into what at first seemed like a relatively straightforward image. Editor: It is remarkable, considering its deceptive simplicity at first glance, the sheer richness embedded within this woodblock print. This piece has helped illuminate not only a fascinating snapshot into late 19th-century Japanese printmaking but, more significantly, broader conversations about nature and how imagery is socially engaged.