Print 1700 - 1733

Editor: So, this print, simply titled "Print", created sometime between 1700 and 1733 by Hishikawa Morofusa and housed here at the Met, it’s a delicate woodblock. What strikes me immediately is the starkness of the black lines against the paper and how that starkness still manages to give it a calm and gentle feeling. What do you see when you look at this, from a formalist perspective? Curator: Structurally, it's an intriguing composition. Notice how Morofusa utilizes the flat picture plane. The figures and objects, like the books and the stand, are presented with minimal shading, emphasizing line and pattern over realistic depth. What effect does the flatness achieve, in your view? Editor: Well, it pushes the entire image forward, creating an intimate sense of closeness. Also, the patterns on the kimonos and even the wall become so much more prominent. Curator: Precisely. And consider the dynamic between the negative space and the positive forms. The white ground is not merely empty; it actively shapes and defines the figures. Think of it as a deliberate orchestration of presence and absence, wouldn’t you agree? How might the use of line contribute to this? Editor: The lines are so precise and economical, but at the same time they lend movement. Look at the curve of the woman's neck or the flowing lines of her kimono; it directs the eyes throughout the picture plane. Curator: Indeed. The tension between flatness and the implied depth, combined with the rhythmic use of line, presents a sophisticated visual experience. This allows us to focus not on the depicted scene, but on the essence of line and form itself. It encourages us to decode its intrinsic artistic merit. Editor: I can appreciate that now. I hadn't initially thought about the push and pull between the flat and dimensional elements but that makes the artwork a great deal more dynamic than I realized. Thanks!