Clear Weather after Snow at Matsuchiyama, from the series Famous Places in the Eastern Capital c. late 1830s - early 1840s

Editor: So, this is Hiroshige’s “Clear Weather after Snow at Matsuchiyama,” a woodblock print from the late 1830s or early 1840s. It's just…so still. The snow blankets everything, and there's this overwhelming sense of quiet. What stands out to you? Curator: I'm immediately drawn to the political context. Hiroshige created these prints during a time of significant social stratification in Japan. Consider the perspective offered. Where are we, as viewers, positioned in relation to this landscape? Editor: Looking at the boats down on the river? Above, looking down? Curator: Precisely. Think about the historical moment. Urban centers like Edo, now Tokyo, were expanding, but not without tension. Hiroshige's images present a romanticized vision of harmony and tranquility amidst urban development. Who benefited from this harmony, and who was excluded from it? Editor: So, the peace we see in the print, it isn’t necessarily reflecting reality for everyone? Curator: Exactly. Consider who has access to this "clear weather." How does this idyllic image serve a social function? How might the lives of merchants, artisans, or marginalized communities differ from this picturesque scene? Editor: I never thought about ukiyo-e prints in that way. I was always drawn in by the scenery and aesthetic, but now I’m thinking about who *isn't* visible in the print. Curator: Engaging with these questions transforms our understanding of this seemingly simple landscape. We move beyond appreciating beauty to critically examining the power structures at play. What new insights can emerge when art history intersects with contemporary critical theory?