Monkey Trainer with a Monkey at the New Year c. 1780 - 1782

Editor: So, this woodblock print, "Monkey Trainer with a Monkey at the New Year," by Kishi Bunshō, created around 1780, is quite striking. It's rendered in soft, warm tones, almost like a memory. The composition, with its figures and calligraphy, feels very intentional. What catches your eye when you look at it? Curator: What a beautiful example of ephemeral Ukiyo-e! The figures, though seemingly simple, are laden with symbolic meaning. The monkey itself is a complex figure – a symbol of imitation, cleverness, and even mischief in some contexts, and warding off evil spirits. Consider its presence during New Year – a liminal time ripe with possibility and anxiety. Do you see that connection? Editor: I do. The New Year context makes me think of renewal, but also vulnerability. And the monkey, being so close to the trainer, also raises questions about control and freedom. Curator: Precisely. The trainer, with his stylized clothing and somewhat theatrical pose, becomes a mediator, bridging the human and animal worlds. Notice also the calligraphy. Does that provide a deeper, textual anchor to cultural memory? It adds a layer, doesn't it? Editor: It does. It's like the print itself is acting as a cultural record, combining image and text. Considering how prints circulated widely, it becomes an accessible form of preserving memories. It makes me consider its modern echoes. Curator: It certainly does. The layers of symbolism encourage us to consider the print’s enduring ability to convey meaning. Looking closely at this work enriches how we look at all art from the period. Editor: Absolutely, it really shifts my perspective. Thanks so much!