The Actor Fujimura Handayu II as Oiso no Tora c. 1715

Editor: This is "The Actor Fujimura Handayu II as Oiso no Tora" by Torii Kiyomasu I, a woodblock print made around 1715. I find the flowing lines of the kimono really striking; the artist captured such graceful movement with such simple lines. What's your take on this piece? Curator: It’s fascinating to view this ukiyo-e print not just as a portrait, but as a social document. It’s less about the actor’s individual likeness, and more about his *representation*. Consider the historical context: Kabuki theatre was hugely popular, but actors, despite their fame, occupied a lower social stratum. Editor: So, this image plays with class? Curator: Precisely! The actor is idealized, almost elevated through the artistic rendering of his figure and dress. We can explore this through the lens of performance theory – how gender, class, and identity were consciously *performed* both on stage and in these accompanying artworks. Editor: I see what you mean. The elaborate kimono seems almost like a costume in itself, emphasizing a constructed identity. Curator: Exactly! Think about the red and black ink, the bold lines— these aren’t just aesthetic choices. They amplify the performative aspect of the actor's identity. Ukiyo-e prints provided a space where these fluid social identities could be explored. What does this image say about the place of female characters and female impersonators in this social fabric? Editor: Wow, I never thought about it that way. Now it seems there's more to the art form than the print itself; its intertwined to so many cultural themes and societal roles. Curator: Precisely, and approaching art with those contexts in mind brings another dimension of life to the work.