Flowers (pink and white) and Leaves, Clappers 1867 - 1891

Editor: So, we’re looking at “Flowers (pink and white) and Leaves, Clappers” created by Shibata Zeshin sometime between 1867 and 1891. It’s watercolor on paper, and something about its muted tones gives it a quiet, reflective feel. What stands out to you most in this piece? Curator: What captivates me is Zeshin’s conscious handling of materials to depict the flowers, leaves, and the musical instrument, clappers. Note the different paper weights. And how watercolor defines depth in the same color value and tonal qualities in various surfaces! It begs the question, how does Zeshin challenge conventional artistic hierarchies through the medium of humble materials? Editor: I see what you mean about the paper. I was initially focused on the image itself, and now it's more like a sophisticated collage, rather than pure painting. What does it say about the production and consumption context of Zeshin's art? Curator: Zeshin's mastery of lacquer techniques informs his approach to watercolor and other mediums, thus elevating lacquerware, or everyday objects to the status of high art. We should then reflect upon what that commentary reveals about Edo-period crafts production, labor conditions and distribution strategies when the social and material worlds are interconnected? Editor: That's fascinating. It's easy to see it as just a pretty picture, but your interpretation makes me think about how it challenges those distinctions and reflects broader social shifts. Curator: Precisely! By exploring the production processes, materials, and cultural values embedded within this artwork, it pushes us beyond the surface of aesthetic appeal to critically examine the systems of labor and consumption during its making. Editor: I definitely learned to look beyond the pure visual aesthetics to understand the making. Thanks! Curator: And I appreciate your eagerness to engage with materiality, broadening our understanding.