20. The Kawaguchi Ferry and Zenkōji Temple 1857

Editor: This woodblock print, “The Kawaguchi Ferry and Zenkōji Temple,” was created by Utagawa Hiroshige in 1857. The waterways give a sense of calm. The rafts traversing the river strike me as being really crucial to life. What are your thoughts when you view this work? Curator: Seeing this work, I immediately consider the social function of this scene. Woodblock prints like this weren't simply aesthetic objects; they were products of a complex system of labor, from the artist's design to the block carver's skill, to the printer's technique, to the eventual consumption of the print itself. Editor: That’s a fascinating way to think about it. So, how would focusing on the social context enhance my appreciation of this image? Curator: Well, think about it: These waterways weren't just beautiful scenery; they were highways for commerce and the movement of people. The rafts suggest the transport of materials, maybe even lumber or goods bound for the temple. Considering the materials and means of their transit forces us to consider who had access to these waterways. Was this ease of access the same for everyone? Editor: It brings up questions of labor and trade that I wouldn’t have thought about otherwise! I see the figures on the rafts, and now I’m wondering who they are and where they're headed. Curator: Exactly! We move past just admiring the composition to thinking about the lives intertwined with this landscape and its resources. That focus moves our gaze to those silhouetted figures near the golden-roofed structures—commoners. Their relation to structures of commerce or spirituality complicates our reading of “The Kawaguchi Ferry and Zenkōji Temple”. What do you see now? Editor: I’m appreciating that these ukiyo-e prints were commercial products, dependent on the collaboration of many individuals and industries, not simply an isolated expression by the artist. Thanks for the explanation!