Kong Hans by Anonymous

Kong Hans 1849 - 1879

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print, woodcut

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portrait

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medieval

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print

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figuration

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woodcut

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history-painting

Dimensions: 83 mm (height) x 60 mm (width) (bladmaal)

Editor: Here we have an interesting print titled "Kong Hans", dating sometime between 1849 and 1879. It appears to be a woodcut. I am really struck by how the detail of his fur coat contrasts with the relative simplicity of the rest of the image. How would you interpret this work? Curator: The emphasis on Kong Hans’s elaborate attire certainly draws the eye, doesn't it? Think about the labor involved in producing such clothing - the fur trapping, the tailoring, the creation of jewelry - versus the relative ease and replicability of the printmaking process itself. Does the print democratize or reinforce class structures, do you think? Editor: That's a really interesting perspective! It highlights the contrast in production processes. I hadn’t considered that the print, although portraying royalty, could potentially be seen as more accessible due to its method of creation. Curator: Precisely. Consider also the distribution of such prints. Were they exclusively consumed by the elite, or did they circulate among broader segments of society? This informs our understanding of the work's intended audience and social impact. Who was doing the carving of the wood block, and to what extent were they able to have input into what was portrayed, if at all? Editor: So you’re saying the meaning isn’t just in the image, but also in the process and the potential audience? It complicates the interpretation of what seems at first glance to be a straightforward royal portrait. Curator: Exactly. Examining the material conditions of the artwork reveals the complex dynamics of power, labor, and consumption intertwined within it. It encourages us to look beyond the surface representation to understand its deeper cultural significance. Editor: This really shifts my understanding of how to look at art. I’ll definitely be thinking more about the production processes behind artworks going forward. Thanks! Curator: My pleasure. It’s about challenging assumptions, isn't it, and constantly questioning what materials and the method of their manipulation can tell us?

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