Ichikawa Danshiro as Sanbasô Dancer in Blue Kimono 1952

Editor: Here we have Natori Shunsen's "Ichikawa Danshiro as Sanbasō Dancer in Blue Kimono," created in 1952. The colours really jump out, and the textures, even on a flat plane, are pretty intriguing. What is your reading of this print, especially considering its materials? Curator: Well, I see a fascinating interplay between tradition and mass production. This print relies on the woodblock technique, a historically significant method that democratized image-making in Japan. Considering this was made in 1952, during the postwar period, we might consider how traditional craft was being negotiated alongside emerging industrialized processes. Editor: That’s interesting, considering the subject. Can you elaborate on the connection between the Kabuki actor depicted and the production method? Curator: Kabuki itself has always been somewhat of a "popular" art, made accessible through its broad appeal. This print, acting as a commodity representing a performer, makes that even more clear. The image relies on labor – the labour of the artisan who carves the woodblocks and the labor of the printer who creates each impression. And, of course, we must consider the consumption – the audience consuming the performance and later, the print itself. Does that give you other ideas? Editor: I guess so. So this piece isn't *just* a pretty depiction, but also evidence of its own means of production, highlighting labor and even consumerism in postwar Japan. Curator: Precisely. It reveals the social life of the object. Instead of seeing solely a representation of an actor, we observe the confluence of art, labor, and economy. Editor: Okay, I can now appreciate this image more for what went into creating it beyond artistic skill alone. It gives us insight into a specific period and context. Curator: And that contextual awareness enriches our experience! I find that seeing art through that lens always opens up possibilities.