Hoofdstuk 43 1851 - 1853

Curator: Here we have "Chapter 43," a woodblock print crafted between 1851 and 1853 by Utagawa Kunisada. This Ukiyo-e piece, currently housed in the Rijksmuseum, presents us with a scene of figuration within what seems to be an interior courtyard. Editor: Wow, instantly I feel transported. There's a sense of quiet drama, wouldn't you say? A certain restrained tension between the figures. Almost like a stage setting. Curator: Absolutely, and that theatrical element is deeply embedded within the Ukiyo-e tradition. Notice the detailed rendering of the kimonos; these weren't merely decorative—they signaled status and identity. What could one read from this work based on the gender roles, societal hierarchy and what about the lack of direct interaction among them? Editor: Hmm. There's something almost dreamlike about their stillness. It makes me think of half-heard conversations, secret glances… Is that a sword at the hip of the male figure in the center? Could that element hint at samurai narratives and the power dynamics at play? The colours!—are those cherry blossoms I spy, blooming outside in the background? How bittersweet, such delicate beauty juxtaposed with a figure carrying arms. Curator: Yes, it creates an undeniable tension, especially when viewed through the lens of social expectations of the time. Men with swords during that era have different rules and rights that dictate them unlike other community members, especially women. The beauty that you see in the painting is what Japanese tradition refers to with “mono no aware". What appears to be simple beautiful, such as cherry blossom, represents a poignant awareness of the ephemeral nature of beauty and life which creates a deeper sense of connection to one’s surroundings. Editor: Precisely! Each detail invites deeper consideration. This scene pulls one into contemplation. Now that I am staring a bit longer, the spatial design of it all, with these women positioned across all planes, speaks of a world with clearly defined yet visually porous barriers of social roles. It would feel wonderful to walk inside! Curator: Agreed. I think reflecting on historical artwork prompts essential discussions and enriches how we engage not only with art history, but also its legacy and its complex reverberations across time. Editor: Indeed! It’s these lingering whispers from the past that tickle our brains. And this Utagawa Kunisada scene does it brilliantly, right?