Volle maan boven rivier 1890 - 1950

Editor: Here we have Yamamoto Shoun's "Full Moon Above River", a woodblock print made sometime between 1890 and 1950. There's such a tranquil quality to it, but something about the starkness of the moon and water feels almost…industrial in its simplicity. What can you tell me about it? Curator: What strikes me is the inherent tension in its creation. This *ukiyo-e* print, made during a time of increasing industrialization, romanticizes nature. How many hands were involved in the sourcing of materials, carving the woodblocks, the printing process itself? The labor contrasts sharply with the depicted serenity. Editor: That's fascinating! So the very act of creating this peaceful scene highlights the industrial forces at play in that period? Curator: Precisely. Consider the consumption of wood as a resource, the development of inks, and the market for these prints. Ukiyo-e became a commodity, detached from individual artistry, reliant on collaborative manufacture. What looks like a serene moonlit river is tied to production. Editor: So even the line work…is that impacted by this industrial mode of production? Is it standardized in some way? Curator: The *lines* are achieved through skilled carving and printing techniques but are also defined by the wood itself – its grain and consistency dictates the precision that’s possible. The wood is a *raw material* shaped by human effort into this image we are beholding. It reflects available technologies, market demands, and accessibility to tools. Editor: It's almost a paradox—a handcrafted product of industrialization. It completely changes my perception. Thanks so much. Curator: Indeed. Hopefully now when we view the artwork we recognize that its idyllic simplicity emerges from complex systems of production, material constraints, and societal needs.