Yui c. 1832 - 1833

Curator: Before us is Utagawa Hiroshige’s “Yui,” a woodblock print created circa 1832-1833, now residing here at the Minneapolis Institute of Art. What strikes you most about it initially? Editor: The asymmetry is quite powerful. The sharp, plunging cliff face on the left really throws the viewer off balance, directing your gaze forcefully towards the calm sea and distant Mount Fuji. Curator: It’s important to remember these prints, part of the *ukiyo-e* tradition, were made in multiples, often sold as affordable souvenirs or guides along routes like the Tokaido. Hiroshige didn't just depict scenery; he was illustrating a system of production and consumption. Editor: True, but consider the formalism at play! The gradation of color in the sky, from a pale yellow to a hazy white, juxtaposed with the bold, flat planes of color—the deep blues of the sea, the rust-red earth. It creates depth, but also flatness simultaneously. Curator: The physicality of the print itself matters too. The labor involved in carving those blocks, the social conditions that made such imagery popular and affordable, and who purchased and transported them: understanding these factors unlocks a more complete picture. Editor: But that doesn't negate the careful compositional choices. The placement of the trees, the angle of the cliff, it's all meticulously arranged to create this specific feeling, this atmosphere. Notice the dynamism that emanates from these skewed forms of nature on the foreground and how their rough textural qualities contrasts with the smooth flatness of Fuji at the back. Curator: Agreed. But that feeling is itself tied to cultural expectations and material realities. This print presents a particular image of Japan and its landscape, one tailored for a specific market, one commodified to serve a wider political and economic project. Editor: Ultimately, what remains with me is the interplay between the solid mountain and ephemeral sky. A poignant representation of fleeting, natural beauty and immutable geographical realities. Curator: I find myself pondering the hands that created it and its subsequent voyage and many destinations, contemplating the countless impressions made, bartered and traded, which together constitute its deeper social biography.