Actor Matsumoto Koshiro II as Uiro-uri (Peddler of Sweet Cakes Called Uiro) 1760 - 1780

Editor: Here we have Ippitsusai Bunchō's woodblock print, "Actor Matsumoto Koshiro II as Uiro-uri (Peddler of Sweet Cakes Called Uiro)," likely created between 1760 and 1780. The figure is captivating and quite detailed for a print. What do you see when you look at it? Curator: From a materialist perspective, this print offers a rich lens through which to examine the economics and social structures of 18th-century Japan. Consider the labor involved: the artist, the block carvers, and the printers, each contributing specialized skills. The materials themselves, from the woodblocks to the pigments, speak to a network of trade and resource extraction. Note the specific garments and props - they weren't just artistic choices, but signifiers of class, occupation and popular culture, actively shaping contemporary identities and aspirations. Editor: That's interesting. I was just focusing on the face and form, not thinking about where the pigments and wood came from. Curator: Exactly! The Ukiyo-e tradition wasn't merely about beautiful images; it was a product of a burgeoning merchant class with disposable income and a desire for readily available, reproducible art. Think about the peddler character he represents – the circulation of goods, of capital. What impact do you think affordable art like this would have on the consumption of art? Editor: So, by democratizing art through the use of printmaking techniques, more people had access and demand increased! It makes me appreciate the level of artistry and complexity required in creating each print and also its role in disseminating culture. Curator: Precisely! This isn’t just a picture of an actor; it’s a complex artifact revealing much about the socio-economic conditions that enabled its creation and dissemination.