Designs for Leather 19th century

Curator: Before us, we have "Designs for Leather," a 19th-century print by Kubo Shunman. The ink and color on paper give off such an antiquated, calming sensibility, doesn’t it? Editor: Yes, it does! I find it interesting how the geometric shapes and decorative style of the design creates a tension. On one hand, the forms are very ordered; on the other, it exudes such a fluid sensibility with those pastel shades. It feels almost whimsical. Curator: It’s quite intentional! Kubo Shunman lived in a society with strict hierarchical structures and sumptuary laws dictating what commoners could wear, and so on. In ukiyo-e prints from this period, this subverts expectations, because Shunman could express this rebellious artistry as commodity that defied those set structures. Editor: You’re so right! Thinking about the history embedded in these "designs for leather," I wonder about the identity of the artisans who would have ultimately translated these patterns. Were they celebrated? Exploited? Or, somewhere in between? It is a perfect depiction of an intersectional dynamic. Curator: That's precisely where the discourse around ukiyo-e becomes rich. Were these prints a democratizing force, making art accessible, or did they exploit the labor of block carvers and printers, whose names are often lost to history? Here, even something seemingly straightforward as pattern becomes deeply complex when analyzed with gender, class and labor practices at its center. Editor: It truly emphasizes how interconnected design, production, and consumption can be, especially as art historical context meets a wider societal awareness. Curator: Agreed! These seemingly simple geometric shapes remind me that art is so much more than mere aesthetics, especially in the case of Ukiyo-e, with these artworks holding a wealth of social and historical complexity to be excavated. Editor: Precisely! What might seem like a serene pattern carries with it a rich narrative of its time!