Sawamura Sōjūrō III as Ōtomo no Kuronushi 1794

Editor: Here we have Toshusai Sharaku's woodblock print from 1794, titled "Sawamura Sojuro III as Otomo no Kuronushi." It’s striking, mostly for its almost confrontational directness. What can you tell us about it? Curator: Well, as a materialist, I look first at the conditions of production. Sharaku’s sudden appearance and disappearance in the ukiyo-e scene suggest a specific, perhaps brief, commission. Consider the labor involved in each impression, the carving, the paper-making – a collaborative effort distributed to workshops reflecting the market demands for such imagery. Editor: So you are saying that the creation process tells a lot about the cultural significance of the work. How would the original audience have viewed this work and why? Curator: Precisely. The elaborate costume indicates status and wealth, important for the play's reception and perhaps mirroring societal values. This print, widely reproduced and consumed, tells us about the entertainment preferences and class distinctions within Edo society. Do you notice anything specific about how costume patterns reflect this? Editor: It's incredible to see so much texture created just with lines and the limited color palette is also noteworthy. Also, thinking about the material, you see that the fibers on the paper become relevant… Curator: Exactly. And, because it is a woodblock, this means multiples were printed, and therefore widely available at a variety of costs to different consumers. Editor: So it gives access to art at different levels within the public, depending on its quality, paper and ink used... Fascinating! I never considered printmaking from this point of view. Curator: Reflecting on the materials and mode of production definitely allows for different levels of interpretation of the cultural impact of art pieces like this.