Fujikawa c. 1832 - 1833

Editor: So here we have Hiroshige's woodblock print "Fujikawa" from around 1832. It's quite small, but the scene is so meticulously rendered. I’m struck by the contrast between the activity on the road and the stillness of the sky. What do you see in this piece? Curator: It's fascinating how Hiroshige manipulates spatial recession. Note the strategic use of the diagonal line of the road leading the viewer's eye into the distance, coupled with the flattening effect inherent in the Ukiyo-e style. How do the lines of the composition inform your reading? Editor: I hadn't considered that flatness, I was focused on how he positions the figures at different depths to show space! The groupings of figures too, feel deliberately placed. Curator: Indeed. Consider the textures. We see rough textures created through visible wood grain, contrasting with the smoother, gradated washes of color in the sky. This interplay enlivens the surface. Are these intentional elements just decorative or do they affect the conceptual core? Editor: Perhaps it reflects the different types of activity represented - the "rough" travelers on their journey compared with the soft unchanging sky? Or maybe a simple, technical constraint of the medium. Curator: Precisely. And also note how the limited color palette, largely blues, browns and creams unifies the image despite the intricate detail. Also, the arrangement feels natural but there are underlying geometric forms controlling it all. Editor: That’s a new way of seeing it for me – the combination of what feels spontaneous and intentional. The depth that he creates by balancing the medium. Curator: A true masterclass in compositional balance, the key of this work might be how we balance traditional Japanese art constraints with an intimate point of view on the setting sun.