Tomoe Gozen c. 1822 - 1828

Editor: Here we have Utagawa Toyokuni I’s woodblock print, "Tomoe Gozen," created sometime between 1822 and 1828. It's a striking image of a woman holding what looks like a censer. There's a formality to the figure but the patterns and colors bring so much to the piece. How does it fit into its cultural context? Curator: Ukiyo-e prints like this one weren't just art, they were a reflection of the rapidly changing social and cultural landscape of Edo-period Japan. Tomoe Gozen was a fascinating figure, a female warrior, almost mythical. Yet here she’s portrayed with a degree of domesticity. What do you think this representation might be telling us about the role of women, or at least the *idea* of women, at the time? Editor: I suppose the artist wants to hint at an accepted narrative of that role within society, since it’s displayed so prominently as art. I guess this version is meant for public consumption? Curator: Exactly! And consider that prints like this were a commodity, part of a thriving entertainment industry. The publishers and artists needed to appeal to the tastes of their audience. Would a purely warrior-like depiction of Tomoe Gozen be as appealing to those purchasing the print, especially if the market was largely male? The poem also may hold clues. What stories might that reveal? Editor: It almost feels like she’s being repackaged or perhaps reframed to make the heroic warrior seem…subdued or less threatening? To fit a mold for society? Curator: Precisely. And that act of framing, of shaping narratives around historical or legendary figures, is a powerful demonstration of the social and political function of art. Prints such as this offer insight into how identities are constructed and reinforced. Editor: I never thought about ukiyo-e in terms of their cultural impact! Thanks for helping to provide a framework to learn more about it. Curator: My pleasure! Seeing art as part of a wider conversation lets us draw new connections.