Ono no Komachi Washing the Copybook (Soshiarai Komachi) Possibly 1615 - 1868

Editor: This woodblock print, possibly dating from 1615 to 1868 and titled "Ono no Komachi Washing the Copybook," attributed to Torii Kiyomasu II, has an intriguing narrative quality. The composition is quite striking with these figures arranged seemingly floating on clouds. How do you interpret this work in the context of its time? Curator: This print offers a window into the Edo period's complex relationship with classical literature and the role of women, particularly female poets. Ono no Komachi was a celebrated 9th-century poet, but here she's depicted in a famous Noh play scene, “Soshiarai Komachi.” She’s washing her poems to prove their worth, rejecting accusations of plagiarism, quite a political stance considering the strict hierarchies and censorship of the time. Editor: That's fascinating! I hadn't considered the implications of the scene itself. How does the ukiyo-e style, often associated with portraying the pleasure districts and celebrities of the time, play into the representation of a figure from classical literature? Curator: Exactly, that's key. Ukiyo-e often functioned as popular media. Placing Komachi within this medium made classical stories more accessible and relevant to a broader audience, essentially democratizing culture, albeit in a commercial context. It challenges the traditionally elite control over literary interpretation. Who decides what’s "high" and "low" culture? Editor: So it's about taking a classical figure and re-presenting her for the masses. It speaks volumes about how cultural values are disseminated and even redefined over time. Curator: Precisely! The image, circulated as a print, actively participates in shaping the Komachi legend and its reception. And perhaps questions the nature of artistic merit, suggesting true artistry can withstand scrutiny, or even being literally washed. What’s “authenticity” in the context of cultural production, then? Editor: This has given me a whole new appreciation for how deeply art is embedded in the social and political landscape of its time. It is about far more than the beauty, but a testament of time. Curator: Yes! I agree. Art is not created in a vacuum, but rather interacts, engages, and even contests society’s understanding of the world, culture and norms.