Go to Takaoyama to see Maple Leaves having Twelve Points 1680 - 1700

Editor: Here we have Hishikawa Moronobu's woodblock print, "Go to Takaoyama to see Maple Leaves having Twelve Points," created sometime between 1680 and 1700. The composition and monochrome ink give it such a serene and intimate feeling. What do you see when you look at this piece? Curator: It is crucial to observe the deployment of line within the work. The delicate lines defining the figures, the screen patterns, and even the suggesting a certain dimensionality. Notice, too, the precise arrangement of space. Consider the geometric forms – the rectangles of the screens, the circle of the fan – how do these shapes structure your gaze? Editor: It’s interesting how the screens function almost as frames within the frame, organizing the narrative and creating depth. Does the inscription provide additional insight into the composition itself? Curator: The inscription above contributes to the overall structure. While its direct semantic translation may elude us in this moment, the formal presence of the calligraphy provides balance to the pictorial elements below. Think of it as a textual block mirroring the darker geometric patterns elsewhere. Editor: So, even without knowing the exact translation, we can appreciate its visual role in the piece’s structural integrity? Curator: Precisely. And consider the negative space around the figures. Does it amplify or diminish the focal points within the image? Where do you feel your eye is drawn, and why? Editor: I see how Moronobu used lines and shapes not just to depict objects, but as compositional tools. I didn't catch that balance until now! Curator: A successful viewing involves peeling back these layers of formal consideration. The print, as a material object, encourages close study of line, form, and their spatial relationships, moving us towards a more nuanced appreciation.