['Water verdor on a clear evening', 'Seven clear copies of the iroha syllabary'] 1856 - 1858

Editor: This captivating woodblock print from the Rijksmuseum, titled "Water verdor on a clear evening" by Utagawa Kunisada, circa 1856-1858, showcases an individual with very theatrical costuming and makeup, against a backdrop with text and what seem to be decorative items, possibly for display. What socio-political implications can we derive from Kunisada's striking creation? Curator: Well, considering ukiyo-e's function as a mirror reflecting the floating world, we must analyze the subject and its audience. Ukiyo-e prints were immensely popular, particularly amongst the merchant class. Note the deliberate theatricality. Doesn’t it seem to depict an actor? Editor: Yes, it does have that element. So, how does that relate to the political and social climate? Curator: The Kabuki theatre was heavily regulated by the government because it often critiqued contemporary issues and governance, yet also greatly desired by the masses. Therefore, this image encapsulates sanctioned though occasionally restricted artistic expression. What purpose do you think these portrait prints of actors served in that setting? Editor: Hmm, it might offer a connection to performers, but at a distance, since seeing performances wasn't feasible for everyone? A way to consume fame, in a way? Curator: Precisely. It highlights the complicated dynamic of popular culture, celebrity worship, state regulation, and artistry flourishing in early Japan. We often regard museums today as neutral spaces of preservation. Do you see ukiyo-e having a public function then akin to this? Editor: Well, I never considered the museum space as a method of looking at historical agency for marginalized people. Fascinating. Thank you! Curator: Likewise! It's a continual conversation!