Ichikawa Danjuro IX als Soga no Goro 1901 - 1908

Curator: Allow me to introduce you to Toyohara Kunichika's woodblock print, dating from 1901 to 1908, entitled "Ichikawa Danjuro IX als Soga no Goro". Editor: Well, my immediate impression is the dramatic intensity! The forceful lines and stark contrast really command attention, it practically leaps off the surface. Curator: Indeed, the formal aspects contribute to that drama. Note the strategic use of colour—the vibrant blue of the kimono, for example—juxtaposed with the monochrome treatment of the figure behind, focusing the eye and creating depth. Editor: And that heavy outline! It certainly emphasizes the printed nature of the image. It also has that performative element tied to the world of Ukiyo-e, connecting craft and cultural expression. It must be immensely satisfying to carve that matrix and consider how that relates to the final artwork. Curator: Precisely. Kunichika skillfully utilizes the medium's potential for bold expression. Let's also consider the compositional elements, that upward diagonal of the sword creates dynamism while also disrupting an otherwise symmetrical form, don’t you think? Editor: I am struck by the detail in that kimono; it makes you consider the textile workers that laboured to weave the intricate fabric portrayed in the woodblock. How does that material reality contrast with its representation? Curator: An excellent question. We must recall that Ukiyo-e prints like these had mass distribution in mind; their affordability played a key part in bringing imagery, like this depiction of popular Kabuki actors, into many households. The interplay between material limitations and accessible artistic creation here interests me. Editor: I'd argue that tension between 'high art' and common artifact defines much of the woodblock prints of that period; it is right there, between the hands of the artisan and the consumer. It reveals some crucial dynamics between class and aesthetics. Curator: A rich consideration. As we’ve seen, Kunichika masterfully exploits his material in "Ichikawa Danjuro IX als Soga no Goro" to project and challenge that material reality and reveal aspects of representation and form simultaneously. Editor: Exploring this woodblock’s socio-economic context allows for richer experience by unveiling stories etched in every stage of creation.