Japanese woodblock prints' dual nature as both an artistic product and an information tool offers ample opportunity for anthropological research. The spread of pieces and motifs offers insight into...Show moreJapanese woodblock prints' dual nature as both an artistic product and an information tool offers ample opportunity for anthropological research. The spread of pieces and motifs offers insight into what topics may have been of interest to common folk and, to a lesser extent, may be used to get an impression of the common perception of political events. The arrival of Commodore Matthew Perry in 1853, which ushered in the end of Japan's national seclusion policies, is commonly said to have been the source of much uncertainty and upheaval within Japan. Though this proved akin to a cataclysm for Japan's existing governing structures, it appears shortsighted to assume that anxiety towards the future was the only reaction this event had caused. A print which featured a whale with catfish-like features swimming in the Bay of Edo, released after the arrival of Perry and the earthquake, appears to directly comment on this contact with the West, and its tone spells hopes for an economic boon more so than fears. This brought about questions about the possibility of a positive attitude towards the opening of Japan, perhaps from within commoner demographics who stood to gain from the period of rapid change this event promised, and presented the catfish as a stand-in for American gunboats. Therefore, this paper seeks to discuss in what ways the folklore motifs were present in the black boat prints and Perry portraits and how they reflected attitudes towards foreign powers in Japan.Show less
