| Transcript |
- quickly discarded and not considered to be worth collecting. Western collectors of Japanese prints, while greatly respecting traditional ukiyo-e, have a distinct disdain for Meiji prints with their garish colours and busy compositions. Some are rather crude, the lines not meeting and matching precisely. Early Meiji artists were often not familiar with the Western contraptions they were portraying. For example, trains were frequently de�picted with squarish wheels, no axles or two trains were placed on a collision course on the same track. However, despite all of this, many of these prints expressed a charming sense of inno�cence. Some exhibit consummate skill and display subtle colours and interesting compositions. They were extremely innovative, well executed and highly appealing.
Glorification of War through Woodblock Prints
During the Meiji period two significant wars were fought, one against China in 1894-1895, and the other against Russia in 1904-1905. There was an avalanche of prints dealing with these wars produced in Japan, especially referencing the Sino- Japanese War. They were distributed throughout the country and even overseas.
The prints were usually commissioned by the propaganda office in Tokyo. Their purpose was to stir up national pride and support for the war efforts. These patriotic images helped to create a sense of national unity. They were produced to show the great victories of the Japanese army and navy.
The Japanese soldiers and sailors were depicted in heroic poses, and portrayed as tall, slender and handsome. The soldiers were dressed in dark Western uniforms and often represented with beards and moustaches, having remarkable similarities in appearance to the Prussian military. Some were even rendered with Caucasian facial features.
The war prints were often racial in overtone and frequently mocked the enemy. In the case of the enemy Chinese soldiers, they were shown carrying primitive weapons, wearing garishly coloured uniforms, with grimacing, terror-stricken faces, beat�ing a cowardly retreat at the sight of the Japanese army. Japanese officers were usually seen in triumphant stances, with swords
24/ MEIJI
Scene in the streets of Tokyo when war prints were exhibited.
drawn leading their troops into battle. In many ways the prints continue the themes of the old ukiyo-e prints by associating the modern Japanese soldier with the code of honour of the great classic warriors, the samurai. The Japanese loved the tales of bravery that harkened back to the samurai days.
The war prints romanticized and glorified the war, while downplaying any loss of Japanese lives. One rarely sees a Japa�nese casualty, but often there are piles of enemy corpses de�picted. The images of the Sino-Japanese War made the conflict look easy for the Japanese. And since they showed that the risk of death was low, they served as the perfect propaganda tool for recruitment.
The main subjects of these prints were action scenes showing both major land and sea battles. The most popular were those dealing with famous Japanese victories in Korea and China at Songhwan, Pyongyang, the Yellow Sea, Port Arthur and Weihai�wei. Sometimes the prints portray a certain incident or heroic deed, at other times soldiers are seen at camp or reconnoitering enemy positions. The surrender of Chinese officers and the peace negotiations were also popular themes. Occasionally the Japanese would produce a print which would show empathy with the tragedy of the enemy. For example, one of the most
|
|---|
