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In 1884, the Japanese painter Kano Hōgai exhibited an early version of his Merciful Mother Kannon (1888) in Paris. The fact of the painting's exhibition abroad provides a basis for reconsidering its long-debated iconographic and historical significance. Taken in the context of the Meiji period (1868–1912), it aspires to a legibility that transcends the particularities of iconography through what was assumed to be the universal truth of the human body. Symbolic devices and painterly references anticipate the requirements of different viewers, thus inviting multiple interpretations and provoking a tacit consensus among viewers of different political and cultural backgrounds.
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