Courtisane Hinazuru uit het Chojiya huis. 1792 - 1796

Editor: This woodblock print, dating back to 1792-1796, depicts Courtisane Hinazuru and is attributed to Chōkōsai Eishō. I'm struck by the intricate details of the kimono and the almost melancholic mood. What do you see in this work? Curator: Immediately, I consider the means of its production. A woodblock print implicates skilled artisans, collaboration, and the social context of its distribution. We see not just the aesthetic presentation of a courtesan, but the product of labor that made it accessible and disseminated within a specific class structure. Note the very precise carving that was necessary for those textiles! Editor: That's interesting. I hadn't considered it that way, focusing more on the artistic representation. But you are right; that intricate pattern speaks volumes about production techniques, expertise and division of labour in workshops. Curator: Exactly. Think of the paper too – what materials were available? How was it sourced? The materiality challenges our romanticized notions of ukiyo-e. The entire aesthetic effect depends on the relationship between production, dissemination, and its socio-economic environment. Were the materials locally sourced or brought from afar? This affects the consumption of this artwork. Editor: So, you're suggesting that by examining the print's materials and means of production, we gain insight into the economics and labor practices of the time? Curator: Precisely. It prompts questions beyond aesthetics: Who was buying these prints? What status did it hold to purchase these items? How does the creation challenge our traditional assumptions of "high" and "low" art by democratizing aesthetics of luxury. Editor: I never thought about approaching it from a materialist point of view. Curator: And by viewing it this way, we appreciate it within its fuller material, economic, and social circumstances.