Wakana of the Matsubaya, from the series "Beauties of the Pleasure Quarters as the Six Floral Immortals (Seiro bijin rokkasen)" c. 1794 - 1795

Editor: So, this is "Wakana of the Matsubaya," a woodblock print made around 1794-1795 by Chōbunsai Eishi. The subject seems so poised and serene as she’s reading. What can you tell me about it? Curator: This print, part of Eishi's series "Beauties of the Pleasure Quarters," invites us to consider the complex role of women in Edo period Japan. These women, like Wakana, were not merely objects of beauty. They were entertainers, artists, and, in some cases, wielded significant cultural influence. Editor: Influence? How so? Curator: They were tastemakers. Their fashion choices, their literary tastes, even their calligraphy, could set trends throughout society. Eishi, coming from a samurai family, portrays Wakana with a refined elegance, blurring the lines between the aristocratic ideal and the realities of the pleasure quarters. Notice the books scattered around her; do you think they are props? Editor: Maybe, but they might suggest that she is more than a pretty face. Curator: Exactly! Ukiyo-e prints like this provide glimpses into a complex social hierarchy, allowing us to examine the intersections of class, gender, and artistic expression. What does it mean to immortalize Wakana as a "floral immortal"? Editor: It elevates her, making her part of a cultural canon, but perhaps also romanticizes a potentially difficult life. It gives a voice and agency that may be taken. I never thought of ukiyo-e in this way. Curator: Thinking about context is key! These images reveal the aspirations and constraints placed upon women like Wakana. They compel us to think about whose stories are told and how they are framed.