Nanamachi of the Yotsumeya with Attendants Sumano and Akashi by Chōbunsai Eishi 鳥文斎栄之

Nanamachi of the Yotsumeya with Attendants Sumano and Akashi c. 1787

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print, woodblock-print

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portrait

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ink drawing

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ink painting

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pen drawing

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print

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asian-art

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ukiyo-e

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japan

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figuration

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woodblock-print

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genre-painting

Dimensions 38.1 × 25.4 cm (15 × 10 in.)

Editor: Here we have Chobunsai Eishi’s “Nanamachi of the Yotsumeya with Attendants Sumano and Akashi,” a woodblock print from around 1787. The figures have an undeniable elegance but the details of their garments and the composition is also so striking, particularly with the blossoming tree that hangs into the composition on the right side of the picture. How do you interpret the artistic choices in this work? Curator: Note the exquisite interplay of line and form. Eishi masterfully uses the flowing lines of the women’s robes to create a sense of movement, countered by the stark verticality of the architectural element on the left and tree trunk on the right. The subdued palette also guides our vision. How would you say the coloring influences your viewing? Editor: The muted colors do lend a sophisticated air, allowing the intricate patterns to come forward without feeling too overwhelming. What's particularly interesting is the contrast between these complex designs of the robes and the blank space above the figures. Curator: Precisely. This employment of negative space draws our eyes into the detail of the patterned elements but also the figures. Further examination exposes that this void is just as important to the structure of the composition as any line. It also heightens the feeling of being party to an event with all subjects facing inwards with just glances to acknowledge our presence, so to speak. This is achieved by how Eishi organized and developed this Ukiyo-e style genre scene. It all flows in a specific formal structure that informs a grander understanding. Editor: I see. So, the formal elements are key not only to the visual experience but also to interpreting the subject’s attitude and interaction. I'll pay closer attention to the way different areas create focal points and generate implied movement. Curator: Yes, through careful formal analysis we are offered a new understanding of the construction and execution of art that gives us better tools to analyze a broad array of subjects and how those forms are generated.

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