A Courtesan Looking at Her Reflection in a Hand Mirror 1777 - 1797

Curator: Today, we'll examine a Japanese woodblock print dating between 1777 and 1797 by Katsukawa Shun'ei. It's titled "A Courtesan Looking at Her Reflection in a Hand Mirror," and it's currently housed in the Metropolitan Museum of Art. Editor: There's a sense of intimacy captured here. The muted colors create a subdued mood, drawing attention to the figure’s contemplative moment. Curator: Precisely. Consider the composition; Shun'ei employs vertical lines—in the shoji screens behind her and even within her elaborate kimono—to create a structured field against which the rounded forms of her face and mirror offer a soft contrast. Editor: Right, the shoji screens point to the way craft traditions mediate access to even "high art" scenes: it's all fabricated labor and material. The waves on the decorated sliding door imply this fabricated artifice; those designs likely speak to aspiration and commercial activity. Curator: Indeed, the material aspects are crucial. These ukiyo-e prints, including this one, were mass-produced using woodblocks. Each color required a separate block. The labor involved in carving and printing was intensive. Yet the final product belies that labor, appearing delicate and refined. What is more, there's no direct painting here; the artist relies entirely on intermediaries like the woodcutters, blurring boundaries between manual reproduction and singular aesthetic choices. Editor: Furthermore, think about the cultural context, her robes are ornately patterned to speak to her role as a skilled and artful professional in pleasure, and of her material access. A courtesan’s beauty was her capital, her crafted identity central to her trade. What kind of mirror is she even using? To what extent would its qualities impact her own daily routines? Curator: Absolutely, all important points to keep in mind as one experiences the aesthetic beauty and semiotic weight that shapes this artwork. This ukiyo-e piece, while appearing simple, prompts a multilayered reading beyond surface appearances. Editor: I agree; and the mirror allows for a kind of productive paradox where beauty and utility meet!