Bewonderen van de kersenbloesem te Asukayama 1785 - 1790

Editor: Here we have "Bewonderen van de kersenbloesem te Asukayama," a woodblock print by Katsukawa Shuncho, dating from 1785 to 1790. I am drawn to the details in the clothing, especially how the patterns almost seem to flatten the figures, making them a part of the landscape. How do you interpret this work, keeping in mind its creation and original consumption? Curator: We need to consider the Ukiyo-e tradition, literally 'pictures of the floating world', and its inherent connection to the burgeoning merchant class. This print, produced through a complex system of labor – artists, block cutters, printers, publishers – was intended for mass consumption. Think about the woodblock's capacity for reproduction and circulation. How does that contrast with traditional notions of singular 'high' art? Editor: That’s interesting. So, is the emphasis on the commercial aspect of its production just as vital as the artistic intent? Curator: Absolutely. Consider the materiality of the print – the paper, the inks, the very wood of the block itself, all commodities. Furthermore, reflect upon the figures. Are they aristocratic figures, enjoying leisure time, or part of a laboring class contributing to the seasonal cycle? What does that say about who consumes such imagery? Editor: That makes me reconsider the narrative I initially constructed around leisure. The very means of production and intended audience point towards a different reading of the scene itself! It’s almost like the print is performing the social mobility it depicts. Curator: Precisely. By examining the materials and modes of production, we challenge established hierarchies, appreciating this print not just for its aesthetic qualities, but also its significance as a consumer product, a signifier of a changing social landscape. Editor: Thanks! I'm leaving this conversation seeing Ukiyo-e in a new light - as an object deeply embedded within the material culture of its time.