The First Nakamura Nakazo as a Samurai 1780 - 1790

Editor: Here we have "The First Nakamura Nakazo as a Samurai," a woodblock print made sometime between 1780 and 1790 by Katsukawa Shunko. It’s currently housed at the Metropolitan Museum of Art. The actor's intense glare and exaggerated pose give off such a dramatic tension. I’m curious, what stylistic choices jump out to you in this piece? Curator: The linear precision employed in delineating the figure immediately arrests the eye. Note the almost geometric rigidity of the folds in his robe, juxtaposed against the more fluid rendering of his hair. The artist skillfully utilizes the inherent flatness of the print medium to emphasize a certain stylization, pushing beyond mere representation. Observe also how the minimal background serves not as a space, but rather as a foil, concentrating our attention solely on the performer's constructed identity. Editor: I see what you mean about the robe - the flowers add depth and texture. It's like, a controlled sort of chaos within the rigid lines. What effect do you think that has on the overall feeling of the image? Curator: Precisely. These small visual disruptions are intriguing; they temper what might otherwise devolve into lifeless formalism. One might argue that they mirror the inherent tensions within the actor's persona, hinting at an inner life that simmers beneath the carefully constructed surface. This print operates not simply as a record, but rather as an encoding of the self. The very essence of Ukiyo-e lies, in part, in its complex surface, resisting any transparent reading. Editor: That’s a great way to put it, a complex surface. It sounds like every aspect of the print, from the actor’s expression to the texture of his clothing, has been carefully considered to create this total image. I hadn't thought of the print itself as being a sort of performance! Curator: Indeed.