A Court Lady as Daikoku, from the series "Seven Women as the Gods of Good Fortune for the Hanagasa Poetry Club (Hanagasaren shichifukujin)" c. 1820

Curator: Immediately, I'm struck by the gentle mood; it feels like a quiet moment, almost introspective. And the scale – intimate, like a captured memory. Editor: Let’s take a closer look at this fascinating work, a woodblock print from around 1820, titled "A Court Lady as Daikoku, from the series Seven Women as the Gods of Good Fortune for the Hanagasa Poetry Club." It comes to us from the hand of Katsukawa Shuntei. Curator: A court lady transformed, huh? That’s rich. Daikoku is usually depicted as this jovial, rotund figure, the god of wealth and prosperity. But here, there's this poised elegance, a sort of restrained power. The symbolism feels…layered. What do you think Shuntei is getting at? Editor: Indeed, the court lady's bearing provides such a powerful contrast! In Japanese art, cultural layering and visual wit were highly prized. I suspect Shuntei's audience would've been quite familiar with the standard Daikoku imagery. Placing the goddess within a noble, educated context gives her both spiritual and earthly clout, suggesting prosperity that extends beyond the material realm. Curator: So it's almost a wink, a knowing subversion? And notice the objects surrounding them – the carefully arranged flower, the delicate lantern. Everything speaks to refinement and controlled beauty. The woman’s soft contemplative expression, almost like she's meditating on good fortune rather than grasping it. It gives the print a thoughtful depth that traditional depictions might lack. Editor: Precisely! It speaks to the Hanagasa Poetry Club as a gathering place. In reimagining the goddess, Shuntei elevated not just the figure but also the club's intellectual and artistic pursuits. Think of it as visual flattery and high-minded marketing all rolled into one delicate package. Curator: That gives it a contemporary zing, right? Something very current! You know, the longer I look, the more the image grows on me. Editor: It's fascinating how an artist from so long ago can still spark contemporary discussions and reinterpretations! Thanks for lending me your eye.