Jurojin, from the series "The Seven Gods of Good Fortune (Adesugata Shichifukujin)" c. 1770 - 1776

Editor: Ishikawa Toyonobu's "Jurojin, from the series "The Seven Gods of Good Fortune (Adesugata Shichifukujin)", created around 1770, has such a serene feeling to it. I am curious about this woodblock print featuring these elegant figures. How do you interpret this work? Curator: I see this ukiyo-e print as a window into the social and political dynamics of 18th-century Japan. Toyonobu is not simply depicting beauty; he's subtly commenting on the roles and expectations of women in Edo society. Note the positioning of the figures: one is contemplative near a goldfish pond, the other presenting a tortoise, both symbols of longevity, wealth and status. Do you notice how their beauty standards might align or diverge from today's? Editor: I hadn’t considered that. I was mainly struck by the graceful lines and delicate colors. So, you’re saying that the image is a way of thinking about social ideals of beauty, longevity, and maybe a commentary on gender roles during that era? Curator: Precisely! We can explore how gender, class, and social expectations were intertwined and expressed through visual culture. For instance, what does it mean to depict women alongside symbols of wealth? Does it reinforce or challenge existing hierarchies? Think about who would have consumed this image and how they might have interpreted it. Editor: I see. By looking at it from this angle, it is a work layered with possible meanings reflecting the historical context. Thanks so much. Curator: Absolutely. Engaging with art in this way helps us critically examine not only the artwork itself, but also the society that produced it and our own contemporary perspectives.