Both Banks of the Sumida River 1781

Editor: This is “Both Banks of the Sumida River” by Tsuruoka Rosui, created around 1781, a watercolor print. It is quite panoramic, and evokes a dreamlike vision. The hazy depiction lends a surreal quality to this cityscape. What strikes you about it? Curator: Note how the composition relies on horizontal registers. The river occupies the lower third, creating a stable foundation. Above, the meticulously rendered buildings are sandwiched between bands of atmospheric haze. The eye is drawn across this visual field, left to right, noting the strategic placement of larger forms – the temple, and bridge scaffolding. Editor: That is true. The architectural structures appear stylized, almost like theatrical set pieces. What about the washes of color, that pastel blue for the water in contrast with those vibrant spots of red? Curator: Indeed, Rosui demonstrates mastery in color. The limited palette of muted blues and earth tones is punctuated by striking red accents. Note that these precisely placed red elements – temples – create a visual rhythm that further structures the image, preventing the long horizontal format from becoming monotonous. This controlled distribution speaks volumes. How would you define the perspective, as used by Rosui? Editor: Well, it does not seem linear, and almost deliberately flattened; a quality that underscores the print’s decorative nature, drawing attention to its inherent two-dimensionality rather than trying to create an illusion of depth. Curator: Precisely. The success of the piece resides within those very formal choices, such as the careful articulation of space, orchestrated use of color, and deft handling of the medium, that elevate it beyond mere representation to the realm of artistic expression. Editor: I see, so the flatness contributes to its power. Thanks for that explanation! Curator: My pleasure; these elements contribute to our comprehension and ultimately, our appreciation.