Segawa Yūjirō II as the maid Otowa 1794

Editor: So, this is "Segawa Yūjirō II as the maid Otowa," a woodcut print made around 1794 by Tōshūsai Sharaku. What strikes me most is the flattening of the figure; the material nature of the woodblock seems so evident. What stands out to you in this print? Curator: I'm immediately drawn to the process, the labor inherent in ukiyo-e prints. Think of the wood carvers, the printers – the collaborative, almost industrial scale for what we might consider ‘high art.’ How does this production affect our understanding of the final product? Is it truly "high art" when so many hands, so many artisans contribute? Editor: That's fascinating! I usually think of "art" as one artist, one vision, but this was clearly a collaborative effort from multiple craftspeople. What kind of implications does this collaborative, commodity-based creation have for our reading of the piece? Curator: Exactly! The materials themselves—the wood, the paper, the inks—speak to a broader culture of consumption. Ukiyo-e prints were, after all, popular entertainment. Considering its place within this cycle of production, what does it mean to portray Segawa Yūjirō, an actor playing a maid? Is Sharaku critiquing or celebrating consumer culture? Perhaps both? The deliberate caricature, and even what could be seen as misgendering are important considerations here, given it all results from material, social and industrial factors. Editor: It really changes how I see the print – less about individual genius, more about cultural production and dissemination! I now feel the tension between artistic expression and the commodified nature of ukiyo-e, and what is meant by this man representing a woman. Thanks! Curator: My pleasure! I found that looking at it from this manufacturing point of view offers such an entry to grasp not only its artistic but also societal message!