Hino Kumawakamaru and the Priest Calling Back the Boat 1885

Editor: So, this is "Hino Kumawakamaru and the Priest Calling Back the Boat" by Tsukioka Yoshitoshi, created in 1885. It's a woodblock print, and honestly, it strikes me as incredibly dynamic. The waves seem to be swallowing everything whole, but what particularly stands out to you? Curator: Well, darling, the swallowing feeling? Precisely the drama Yoshitoshi intends! The Meiji era was bonkers, tearing down the old, embracing the new. Imagine clinging to tradition as a tidal wave of Westernization crashes over you. That boat, you see, isn't just any boat; it’s perhaps a symbol of that which Kumawakamaru is desperately trying to retain. Look how small Kumawakamaru is in comparison with the other individual; what do you feel Yoshitoshi conveys by doing so? Editor: I suppose he's illustrating how powerless Kumawakamaru felt! The person's robe appears to cover more of the total canvas size. That person’s grip with his hands conveys how certain of himself that figure must be, and it shows how determined the figure appears. Curator: Exactly! It's also interesting to think about Yoshitoshi's shift. He began with traditional subjects but incorporated Western techniques later on. The dramatic perspective here is pretty innovative for Ukiyo-e at that point. Do you agree, perhaps the robes serve as a sign for the high regard someone might have? Editor: Now that you mention it, the color feels symbolic! I feel like this adds weight to their stance and their status in that specific period of time. I appreciate that a lot! I wouldn't have considered that before. Curator: And isn't that the joy of art? Shifting perspectives, opening little doorways of understanding! That is one thing I can ensure to take away with me, as well as the interesting context it brings along for a very turbulent point of time for not only art itself, but people and other related matters.