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artelino:
https://www.artelino.com/articles/bloody_yoshitoshi_prints.asp Yoshitoshi - Bloody Prints
Item # 50541
Title
Biographies of Modern Men - Yagiri Shota
Reserve $100
Sold $140 - 9/25/2011
Auction ending in 2 days, 3 hours, 15 minutes and 21 seconds.
Yoshitoshi Tsukioka (Taiso) is today considered as the leading artist of the Meiji period. But it was him who hardly fit into the new era of Meiji enlightenment - with his backward-looking subjects and his unpleasant scenes full of blood and perversities.
Warrior Prints by Yoshitoshi
Yoshitoshi's specialty was in fact warrior prints, a late-coming genre to ukiyo-e that has been said to express the increasing uneasiness and sense of coming crisis felt by the Edo commoner in the final days of the bakufu.
The 28 Murderers Print Series
Indeed, with eerie timing, the most extreme depiction of violence in the popular print came just before the collapse of the bakufu in 1868, in a gory, blood-splashed series called "28 Murderers" by Yoshitoshi and his fellow student Yoshiiku.
Though the series took Yoshitoshi to instant stardom at the time, his attempts to repeat the success with similarly violent scenes of historical warriors in the early Meiji years ended in utter failure.
More Enlightenment Please!
The print-buying audience no longer seemed interested in looking back at history, but ahead to the modern, enlightened future, the way to which led through the West, not old Japan.
In this their tastes were clearly led by the national ideals of the time, just as they would be in the 1880's, when Yoshitoshi's historical prints of warriors became once again the toast of the print world, meeting neatly with the nationalistic desires of the populace, in a return to "Japanese tradition".
How did this happen? How did the desires of the general populace come to be the plaything of government policy, rather than that which resists and challenges it?
The answer to this question is more complex than I can do justice to here, but at the heart of it must be a changed definition of "the people" by themselves, from commoners distinct from the class that rules them in the Tokugawa Period, to the "We the People" structure of the nation-state. But how could this transformation have happened so rapidly?
Meiji Government and the People
Clearly, this is related to the sense of crisis, both real and manipulated, at the beginning of the Meiji Period, a concern for the fate of a group in which the common man now shared an interest, as opposed to the bakufu government, in which he played no part, and for whom his welfare was never a real concern.
Of course the Meiji government was by no means democratic, but by eliminating the caste structure of the Tokugawa regime, its leaders made it possible for the common man to identify with them, while pretending to speak in his name, and for his sake.
The Common Bond of National Strength
In short, the structure of resistance that had fueled popular culture in the Tokugawa Period was transformed into one of at least symbolic participation, and the government ideal of national strength thus became a goal that each member of the nation could strive for, for the good of him/herself, as well as for the others to whom he/she was now related.
Anything so backward-looking and unpleasant as Yoshitoshi's bloody warriors could serve no function in the attainment of this goal. Prints of civilization and enlightenment, to the contrary, were at least seen to share its end, focusing on the new, and providing an image and record of changing Japan.
Text from Youtube:
'Thirty-Two Aspects of Customs and Manners of Women' was one of the last major series created by Yoshitoshi Tsukioka (Taiso) (1839-1892). The series belongs without any doubts to Yoshitoshi's best and most popular print publications. Subscribe to the artelino youtube channel.
Item # 50541
Title
Biographies of Modern Men - Yagiri Shota
Reserve $100
Sold $140 - 9/25/2011
Auction ending in 2 days, 3 hours, 15 minutes and 21 seconds.
Yoshitoshi Tsukioka (Taiso) is today considered as the leading artist of the Meiji period. But it was him who hardly fit into the new era of Meiji enlightenment - with his backward-looking subjects and his unpleasant scenes full of blood and perversities.
Warrior Prints by Yoshitoshi
Yoshitoshi's specialty was in fact warrior prints, a late-coming genre to ukiyo-e that has been said to express the increasing uneasiness and sense of coming crisis felt by the Edo commoner in the final days of the bakufu.
The 28 Murderers Print Series
Indeed, with eerie timing, the most extreme depiction of violence in the popular print came just before the collapse of the bakufu in 1868, in a gory, blood-splashed series called "28 Murderers" by Yoshitoshi and his fellow student Yoshiiku.
Though the series took Yoshitoshi to instant stardom at the time, his attempts to repeat the success with similarly violent scenes of historical warriors in the early Meiji years ended in utter failure.
More Enlightenment Please!
The print-buying audience no longer seemed interested in looking back at history, but ahead to the modern, enlightened future, the way to which led through the West, not old Japan.
In this their tastes were clearly led by the national ideals of the time, just as they would be in the 1880's, when Yoshitoshi's historical prints of warriors became once again the toast of the print world, meeting neatly with the nationalistic desires of the populace, in a return to "Japanese tradition".
How did this happen? How did the desires of the general populace come to be the plaything of government policy, rather than that which resists and challenges it?
The answer to this question is more complex than I can do justice to here, but at the heart of it must be a changed definition of "the people" by themselves, from commoners distinct from the class that rules them in the Tokugawa Period, to the "We the People" structure of the nation-state. But how could this transformation have happened so rapidly?
Meiji Government and the People
Clearly, this is related to the sense of crisis, both real and manipulated, at the beginning of the Meiji Period, a concern for the fate of a group in which the common man now shared an interest, as opposed to the bakufu government, in which he played no part, and for whom his welfare was never a real concern.
Of course the Meiji government was by no means democratic, but by eliminating the caste structure of the Tokugawa regime, its leaders made it possible for the common man to identify with them, while pretending to speak in his name, and for his sake.
The Common Bond of National Strength
In short, the structure of resistance that had fueled popular culture in the Tokugawa Period was transformed into one of at least symbolic participation, and the government ideal of national strength thus became a goal that each member of the nation could strive for, for the good of him/herself, as well as for the others to whom he/she was now related.
Anything so backward-looking and unpleasant as Yoshitoshi's bloody warriors could serve no function in the attainment of this goal. Prints of civilization and enlightenment, to the contrary, were at least seen to share its end, focusing on the new, and providing an image and record of changing Japan.
________________________________
artelino Art Auctions
https://www.youtube.com/watch?v=BNPUjeNhYY0
'Thirty-Two Aspects of Customs and Manners of Women' was one of the last major series created by Yoshitoshi Tsukioka (Taiso) (1839-1892). The series belongs without any doubts to Yoshitoshi's best and most popular print publications. Subscribe to the artelino youtube channel.
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