Three birds in full flight 1887 - 1945

Curator: Welcome. Here we have a delightful watercolor print from Ohara Koson, "Three birds in full flight," created sometime between 1887 and 1945. What strikes you first? Editor: It's graceful! The light blues and greens, with those swooping forms—there's such a sense of freedom. Almost ethereal. It reminds me of fleeting moments, captured mid-air. Curator: Precisely. Koson was a key figure in the Shin-Hanga movement, reviving traditional Ukiyo-e printmaking with a focus on naturalistic subjects. This print exemplifies that: note the careful depiction of the birds' plumage and dynamic poses. It was part of a larger project by Japanese art publishers to cater for a Western taste of Japanese artwork, to supply what those publishers believe it to be "exotic Japan" abroad. Editor: The birds, especially swallows, carry such potent symbolism. Historically, they have often stood for good luck, new beginnings, or even the safe return of travelers. Here, arranged in flight near a weeping willow, you also see that symbol of immortality or resilience. The willow bends but doesn't break. Curator: And consider the cultural context. East Asian art has long venerated the natural world; Birds aren’t mere decoration here, they suggest broader principles, representing the changing seasons and our own transience. It's been commercially viable for a long time, this natural reverence that is. Editor: I agree. This artwork also captures something deeply emotional. The upward motion evokes a sense of aspiration, while the subtle watercolor evokes a sense of transience, that beauty doesn’t always have to stay. Curator: And of course, by the time this piece was created, photography as art and in the mass market already existed and was competing with the traditional Japanese art prints, in what could be deemed "more truthful depiction of nature." Editor: Ultimately, this piece really is more than an elegant snapshot of nature. It combines careful observation, with deep rooted cultural values to conjure powerful psychological associations around home and peace. Curator: Absolutely, and thanks to the Shin-Hanga movement, we're fortunate to still encounter Koson’s artistic vision today. Editor: Indeed. It invites us to consider how art bridges naturalistic representation, and how deeply interwoven cultural values, and visual storytelling.