Media Linking in Kunichika’s Tokyo jiman meibutsu e

The threat that AI poses to the future of humanity reminds us that significant technological innovations have repeatedly transformed media and society throughout history. In Japan, one of the earliest major transformations in communications occurred during the Meiji period, when movable-type printing began to supplant centuries-old woodblock-printing practices, while photography appeared in daily newspapers. Movable-type printing was known in Japan for over two centuries before Meiji; however, because of the enduring popularity of texts combining scripts and images, it took until the Meiji period to become mainstream. The transition to modern printing methods, together with increasing use of photography, transformed conceptions of what was print-worthy. It also led audiences to question what constituted the ‘real’ or the ‘true.’ Both literary and visual arts in Japan had long valued history and tradition over factual accuracy.

Toyohara Kunichika (1835–1900) was among the woodblock-print artists who established their careers before the Meiji Restoration and subsequently faced the challenge of adapting their practices to remain relevant. His Tokyo Jiman Meibutsu-e (Pride of Tokyo), published during the twilight years of woodblock-print culture, is particularly worthy of attention today. His work demonstrates how an artist could develop new forms of communication while taking advantage of traditional artistic skills and established human networks.