Uranosuke Plays Blind Man's Buff with the Women of the Ichiriki Joroya 1780 - 1800

Editor: So, here we have "Uranosuke Plays Blind Man's Buff with the Women of the Ichiriki Joroya," a woodblock print by Torii Kiyonaga from around 1780-1800. It's teeming with figures, a lively scene unfolding in what looks like a traditional building. What do you see when you look at this piece? Curator: It’s a fascinating glimpse into a specific cultural moment. Consider the game of blind man's buff. It's not just a game; it’s a symbolic enactment of desire, blindness, and the pursuit of pleasure, particularly resonant within the context of the Ichiriki Joroya, a prominent pleasure house. Editor: Ah, so it’s not just innocent fun? Curator: Exactly! Note the elevated platforms where onlookers are seated. What do their expressions convey? Are they merely observers, or are they active participants in the energy of the scene? The layering of space – public game versus private observation – highlights the complex social dynamics at play. Consider, also, the colors – how do they affect the overall mood? Editor: They feel very muted and warm. Inviting, maybe? Curator: Precisely. This warmth, in conjunction with the depicted game, invites the viewer into the sensuality of the setting, but it also does something else: it carries forward the history of ukiyo-e as a kind of mirror, reflecting and shaping the desires and values of its time. The game becomes a cultural mirror for its intended audience. What might the people looking at this print have understood that we don’t immediately grasp today? Editor: That's a lot to think about! I initially saw it as a playful snapshot of everyday life, but now it's a loaded with deeper cultural meanings. Curator: Absolutely. Art, like this Ukiyo-e print, carries cultural memories forward, if we pause and try to decode what it tells us about its history.