Shōgun Tarō Taira Yoshikado Disarming Two Goblins 1866

Editor: Here we have Tsukioka Yoshitoshi’s woodblock print, "Shōgun Tarō Taira Yoshikado Disarming Two Goblins," created in 1866. The imposing figure of the Shogun immediately grabs attention, but the goblins at his feet have such startling, otherworldly features. How would you begin to interpret this piece, looking at it formally? Curator: Notice first the stark contrast between the textures: the delicate lines defining the fur of Yoshikado’s garment against the coarse grain of the woodblock itself. This interplay directs the eye. Moreover, consider the asymmetrical composition; Yoshikado's towering form counterbalanced by the textual elements on either side, drawing us into the narrative through purely visual means. Editor: That makes sense. I was so focused on the figures, I didn’t really notice how the text sort of frames the central action. It's not just information, it's part of the structure. What about the almost grotesque depiction of the goblins, with those bulging eyes? Does that disrupt the overall harmony? Curator: Disrupt, perhaps, but it certainly doesn’t dismantle. It serves as a point of visual friction, highlighting Yoshikado’s strength and resolve. The almost symmetrical placement of the goblins adds to this balance in the chaos, ensuring our eyes keep circulating between the opposing forces, never settling in one place for long. Notice how the colours add to that dynamism too, those blocks of orange-red contrasted with greens and yellows? Editor: So it’s not just about what's depicted, but how it’s depicted – the arrangement of textures, colours, and shapes creates meaning. Curator: Precisely. The narrative is undoubtedly important, but it is rendered accessible through the interplay of form and materiality. It all becomes an aesthetic arrangement meant to convey visual weight and emotional impact. Editor: That’s a completely different way of approaching the piece. I'm going to look at art very differently now!