The Jo-ruri Narrator Tomimoto Buzendaya 1785 - 1805

Curator: Here we have Chōkyōsai Eiri's "The Jo-ruri Narrator Tomimoto Buzendaya," a woodblock print from around 1795-1805, currently residing at the Met. Editor: It’s striking how subdued it is, almost melancholy. There's a palpable sense of contemplation, an inward focus highlighted by the limited palette and soft lines. It feels less performative than other ukiyo-e prints I've seen. Curator: I'm glad you mention that stillness. I think Eiri beautifully captures the essence of Buzendaya. The focus really does feel like it's less on performance and more on craft—the mastery evident in the rendering of the fan and box, symbols, perhaps, of his narrative art. Editor: The texture and production fascinate me. Ukiyo-e, "pictures of the floating world," often depicts a glamorous escapism. But, here, with this detailed work showing someone reading at a box, is he rehearsing? Is this about the material effort to bring those pleasures into being? Curator: Absolutely! Think about the meticulous process involved in creating these prints – the carving of the woodblocks, the layering of colors. These works, though seemingly mass-produced, represent hours of skilled labor, which elevates a seemingly humble scene to art. Editor: It makes me wonder about the consumption too. This isn’t just a portrait of Buzendaya, it’s about the act of receiving culture and, really, what that labor and consumption meant within that historical context. It makes this piece resonate with our discussions of craftsmanship today. Curator: And I’m drawn back to the face itself. He's so focused, almost vulnerable. I sense a reverence for the tradition he’s upholding. The lines are softened to remove flaws, almost like it’s the artist’s interpretation of Buzendaya. Editor: I see that sensitivity. But I can't shake my fascination with the box! The stark lines and geometric forms present a sort of structural reality that I think highlights the material world underpinning the ephemeral pleasures of theater. It’s all quite grounded and real for such a seemingly ‘floating’ artform. Curator: It’s interesting to consider that tension. I love how that balance between the tangible and the ethereal offers such different layers of interpretation. Editor: Yes! And the interplay between the physical artifact and its emotional resonance makes it all the more profound. A story of process, labor and quiet dignity rendered with such grace, really.