Gongsun Sheng, the Dragon in the Clouds 1865

Editor: We’re looking at "Gongsun Sheng, the Dragon in the Clouds," a woodblock print from 1865 by Tsukioka Yoshitoshi. The swirling lines depicting water are really captivating, almost like the figure is fighting through a storm, both literal and figurative. How do you interpret this work? Curator: Yoshitoshi's woodblock exemplifies ukiyo-e's complex production process, which combined the labor of the artist, carver, printer, and publisher. Consider how the line work – those ‘swirling lines’ as you say – necessitate a highly skilled carver. That collaborative effort reflects the broader economic system supporting the arts. How does the emphasis on narrative influence the material choices, would you say? Editor: It makes me think about who this story was for. Was it the elite, who’d buy the print and know the story, or a broader audience? Did Yoshitoshi try to democratize the art experience, in a way? Curator: Precisely. The mass-produced nature of woodblock prints allowed for wider accessibility compared to unique paintings, challenging traditional notions of art as a luxury object for the upper classes. Think also about the pigments themselves, derived from specific resources and processes. Were they intended to emulate luxurious materials? Editor: So, understanding the process, the materials used, tells us something about Yoshitoshi’s ambitions and the society he was a part of? It gives us a ground-level view. Curator: Absolutely. Examining the means of production—the woodblock carving, the ink sourcing, the distribution channels— unveils a rich tapestry of social, economic, and artistic forces at play. Editor: I guess I always focused on the image, on Yoshitoshi’s artistic skill, but looking at the ‘how’ gives it another layer of meaning, a whole social network behind one print. Thanks!