Reiger bij nieuwe maan 1900 - 1910

Curator: A solitary heron, softly illuminated, dominates this serene scene. It's Ohara Koson's "Reiger bij nieuwe maan," or "Heron by New Moon," a woodblock print from around 1900-1910, here in the Rijksmuseum. I am immediately struck by how minimal the composition is and the ethereal, almost dreamlike mood it evokes. Editor: Exactly. The colour palette is so restrained, a study in subtle grays and muted blues. The crescent moon, a sliver in the top corner, throws the scene into soft chiaroscuro and immediately brings the idea of transition and hidden potential to mind. You sense a mystery unfolding. The new moon also makes me think of Koson himself – his shift in style after renaming himself Shoson, finding new forms of expression. Curator: Ah, and notice how the heron's reflection in the water almost perfectly mirrors its form. In art, water is often depicted as this symbolic gateway or looking glass. It doubles the main subject, prompting thoughts about the individual and the cosmos, identity and transience. Editor: And that connection to ukiyo-e, these ‘floating world’ images; in this context the water motif is fitting since it adds to the picture’s ephemerality. The plants on the shore seem to also create some contrast between the stability of the Heron with its reflection, adding another layer to its mystery. Curator: Right. It's fascinating how Koson captures not just the physical likeness of the bird but also its stillness, its almost meditative presence within this nocturnal landscape. The heron also represents many things like patience and grace. Here it’s standing peacefully waiting for his time to attack, hidden within the marshland. Editor: And to conclude it’s this ability to capture the intersection of stillness and motion that continues to fascinate, I think. Curator: Indeed. It's a scene that lingers in the mind, inviting contemplation long after you've walked away.