Sparrowhawk and Macaw (Konori taka, inko) c. 1718

Editor: So, this is *Sparrowhawk and Macaw*, a woodblock print by Torii Kiyomasu I from around 1718. It’s really striking how the artist has arranged the birds – the hawk above seeming to loom over the macaw in its cage below. It makes me wonder, what's going on here? What do you see in this image? Curator: I see a powerful commentary on control and domestication. The sparrowhawk, perched freely, embodies wildness and dominance – potent symbols often associated with the samurai class during the Edo period. The macaw, an exotic bird confined within a cage, represents not just subjugation, but also the allure and exoticism sought by the elite. Editor: That makes a lot of sense! The stark contrast is very symbolic. The hawk is part of nature and seems comfortable in its space, yet the other bird, a creature from probably a distant land, is confined to a fabricated space and seems to be less content. Curator: Indeed! And consider the visual weight. The hawk is given prominence, dominating the upper portion of the print. This hierarchy reinforces its power and the social structures of the time. The red cords, meant to secure the cage, almost appear as veins or arteries, a constant source of lifeblood, for its exotic pet. Are we projecting when we imbue it with sadness and resignation? Editor: Perhaps. Thinking about the red cords as veins connecting to the "owner" – in a codependent manner – is thought-provoking, a powerful detail! Curator: These Ukiyo-e prints weren't simply decorative; they were filled with these carefully chosen emblems designed to resonate with contemporary audiences. Exploring the cultural memory embedded within these symbols enriches our understanding of the era. I now understand that the prints, if viewed with a certain amount of contextualization, go far beyond surface level depictions of events and things.