Kiyochika Kobayashi, Pescadores Island Chain Occupied by the Japanese Forces

£300
SKU
CMMA309
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Artist: Kiyochika Kobayashi (1847-1915)
Title: The Entire Pescadores Island Chain Occupied by the Japanese Forces
Series title: The First Sino-Japanese War
Publisher: Takekawa Seikichi
Date: 1895
Size: (L) 23.5 x 36.0, (C) 23.5 x 35.9, (R) 23.4 x 36.0 cm

Original Japanese woodblock print.

kiyochika kobayashi, The Entire Pescadores Island Chain Occupied by the Japanese Forces, The First Sino-Japanese War
kiyochika kobayashi, The Entire Pescadores Island Chain Occupied by the Japanese Forces, The First Sino-Japanese War kiyochika kobayashi, The Entire Pescadores Island Chain Occupied by the Japanese Forces, The First Sino-Japanese War

Battle triptychs were produced in large numbers during the Sino-Japanese (1894 - 1895) and Russo-Japanese wars (1904 - 1905) to satisfy widespread interest in the progress of the imperial army and maintain popular support for the conflicts. The prints idealised the heroism of Japanese troops risking their lives for the emperor. As the demand for traditional woodblock prints fell in the Meiji era, many artists turned to wartime propaganda to make ends meet.

More Information
Print Format Triptych
Artist Name Kiyochika Kobayashi
Title The Entire Pescadores Island Chain Occupied by the Japanese Forces
Subject War
Dimensions (L) 23.5 x 36.0, (C) 23.5 x 35.9, (R) 23.4 x 36.0 cm
Condition Report Slightly trimmed, light soiling, small tear on top edge on the right panel.

Kiyochika Kobayashi


Born in Edo, Kiyochika was the son of a minor government official. He studied Western oil painting under Charles Wirgman and Japanese style painting with Kawanabe Kyosai and Shibata Zeshin. Influenced by imported lithographs and etchings, he turned to woodblock printing. He as also an illustrator for books, magazines and newspapers, having reported and depicted the Ruso-Japanese War of 1894 – 1895. In his prints, he produced views of contemporary Tokyo as it changed under the impact of Western influences. Although he was unable to revitalise the ukiyo-e style, he is considered the last of the important ukiyo-e printmakers.

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