Krijger met waaier 1770 - 1849

Editor: We're looking at "Krijger met waaier", or "Warrior with Fan," a print by Katsushika Hokusai, dating from somewhere between 1770 and 1849. He seems almost burdened, maybe a bit melancholic, even though he's clearly a figure of power. What can you tell us about this work and how it might be understood within its cultural moment? Curator: That melancholic air is key, I think. It challenges our expectations of martial imagery. Hokusai was working during a period of relative peace in Japan, under the Tokugawa Shogunate, and there was a rise in a merchant class. Do you think this ukiyo-e print might be, in some way, commenting on shifts in power and societal values? Editor: That's interesting. The figure looks powerful, but then that fan... almost effeminate. I hadn't thought of the rising merchant class being a challenge to the Samurai. So is Hokusai portraying the samurai in decline? Curator: Perhaps not outright "decline," but certainly a renegotiation of their place. Ukiyo-e prints were affordable and accessible to this emerging middle class. In that way, isn't Hokusai subtly democratizing the image of the warrior, making him relatable, less aloof? His presentation, like that slightly worn robe, would invite familiarity. How do you feel about that juxtaposition? Editor: I see your point! It's not just about individual mood but about how the work reflects shifts in societal structures. So, the print isn't simply a portrait, but a social commentary sold and consumed by a new audience! Curator: Exactly! And consider the location of the work itself now, in the Rijksmuseum. Think about how that act of display transforms the function and meaning of an ukiyo-e print, turning it from a commodity to a museum treasure! Editor: I hadn't considered how its institutional context adds another layer to its story. Thanks, I'm starting to see this work from so many more perspectives!