â€œIn China, university students are an important political force. In a country where there is widespread illiteracy combined with a lack of a democratic tradition, young students filled with some learning and much zeal are political enthusiasts.â€  Collective demonstrations of resolve extended to non-political activities as well. Here West China Union students march in a parade that was part of campus festivities.
Woodblock print; ink and color on paper. from the series: Twenty-four Children's Games (Konodo Fuzoku). Woodblock print; ink and color on paper. Left side of print has been trimmed. "As little as fifty years ago the trend with collectors of Japanese art was to reject the woodcuts of the Meiji era (1868-1912) as being garish and unrefined. To be sure, the introduction of Western pigments and artistic styles (c. 1865) had created a dynamic change in Japanese art. Bold new colour patterns and equally revolutionary design concepts began to influence the art of the woodcut. Far from ruining traditional art forms, however, Meiji artists injected a vitality into the woodcut by amalgamating Japanese and Western forms. The great masters of this era -- Yoshitoshi, Chikanobu, Ginko, Miyagawa Shuntei and others -- thus created a number of beautiful images and contemporary scholarship now favourably compares their works with the art of earlier nineteenth century woodcut artists. The Tokyo artist, Miyagawa Shuntei, produced his finest work at the end of the nineteenth century. His two greatest series of woodcuts, Pictures of Customs and Flowers of the World of Pleasure, were both published in Tokyo in 1897. Shuntei's finest art was in the genre of bijin-ga (beautiful women); portrayals of beautiful women. In this regard, he is often regarded by scholars as a precursor to the woodcuts of the following generation of famous Shin hanga (new print) artists such as Goyo, Shinsui and (most notably) Kotondo." He was born in Aichi prefecture. Much like the rest of his generation of print artists, Shuntei worked as a book and newspaper illustrator. He is best known for his genre print subjects of women and children playing.
Front label misspells the name, lists it as "Hokussai"; should be Hokusai. Registrar's printout also lists the artist's last name as Hokusai, first name as Katsushika; bear in mind that Japanese reverses the order we are used to in the West. So, Katsushika is the surname/family name; Hokusai, the name by which he is best known, is the personal name. On the back, says it was done 1820-30. This print is a page from Hokusai's Manga, a printed set of his sketchbooks, containing various figural, landscape, and bird-and-flower compositions, with a limited color palette involving the use of 3 blocks: the key block, which prints the black lines; a block inked for the flesh tones; and a block inked with light blue for the clothing. This particular page of the Manga shows male figures in various physical poses: the top two are bending/stretching, w. arms wrapped around legs, and hands clutching ankles. The middle two figures are seated and clutching each other's shoulders. The lower two are seated, and are engaged in leg wrestling.
Foot races at West China Union University