The Festival of Dolls (Third Month) 1757 - 1777

Editor: This lovely print, “The Festival of Dolls (Third Month)” by Ishikawa Toyomasa, dates from around 1757-1777. It’s a woodcut. The composition is split between the intimate interior and what feels like a theatrical exterior performance. I'm intrigued by the different levels of representation. What strikes you most about this piece? Curator: The most interesting aspect is how the woodcut medium itself becomes central to understanding the depicted scene. Notice how the print’s lines delineate not only form but also social structure, the labor division implicit in the production and celebration of the Doll Festival. Editor: How so? Curator: Consider the painstaking process of creating this print—the carving, inking, and pressing. That artisanal labour mirrors the labor inherent in setting up the doll display within the home. The boys physically carrying what could be seen as a miniature temple for the doll seem almost dwarfed by its weight, showing the physical exertion involved. Ukiyo-e prints themselves became a commodity of mass consumption, reflecting the changing economic landscape of the Edo period. What do you notice about the doll in its “house”? Editor: She does look rather serene and perhaps oblivious to the manual labour occurring around her. It seems the artist draws attention to those performing the services that would grant her this peace and tranquility. Curator: Precisely! And by focusing on the materials and the processes of creation and presentation – both of the print and of the festival itself – we gain a deeper understanding of the social and economic realities that shaped its meaning. It definitely changes how you look at something seemingly ornamental! Editor: I never thought about how the act of making the art relates to what it depicts. It definitely shifts the focus. Thanks!