Pine Groves of Miho in Suruga, from the series Thirty-six Views of Mount Fuji 1858

Curator: This is Utagawa Hiroshige’s woodblock print, “Pine Groves of Miho in Suruga, from the series Thirty-six Views of Mount Fuji,” created in 1858. It exemplifies the ukiyo-e tradition, a cornerstone of Japonisme. Editor: The misty distance in this, oh, I could almost feel the sea breeze! It's so calm. A perfectly framed postcard of serenity. Mount Fuji in the background almost fades, does it not? Curator: Hiroshige certainly masterfully uses atmospheric perspective. We observe how the details soften and colors fade as we move towards Mount Fuji, which enhances the depth of the scene, subtly shaping our view on the famous Japanese symbol. Editor: Shaped views? Is it then just a carefully composed political narrative? A Japanese postcard? No, it is more like poetry for me. Take the little boats for instance! Are they symbols or working vessels? Maybe both? Curator: Indeed, the symbolism here can be debated. These prints were very popular, mass-produced commodities during the Edo period, so they reflected, and arguably reinforced, certain values and idealized views of Japanese landscapes accessible to commoners. They fostered regionalism, and became potent tools for place-making. Editor: See, this kind of information takes the magic out of it a little bit for me, even as I appreciate that you placed the boats for me! What about the line of those pines—short, and repetitive, rhythmic somehow? I get lost looking at these trees in particular, but the boats seem so alone! Curator: Their isolation might speak to the human condition, as filtered through the lens of the era, highlighting individual journeys within a larger social tapestry. This reflects core ideas on identity in that context. Editor: And what do those ideas mean today, framed by those perfect mountains? We are certainly further isolated from each other these days and this feels timeless as such. Maybe I'll pick up my paints again, take in all these colors, try to feel that breeze. Curator: It’s incredible how this relatively small woodblock print manages to provoke so many questions about Japan's relationship to nature, its social constructs, and its impact even in our present-day realities. Thank you.