Embarking on a raft 1924

Editor: Here we have Tomioka Tessai’s 1924 ink painting, "Embarking on a raft." It feels… spontaneous, almost like a sketch, and yet quite powerful. The figures huddle together amidst swirling waves. What strikes you about this piece? Curator: I am drawn to the materiality of this work. Ink, in its fluidity, dictates the scene. The gradations of wash suggest not just the volume of water, but also the varying qualities of ink production. How does Tessai's choice of ink impact our understanding of the depicted scene? Editor: I hadn't considered the ink itself so critically. It definitely adds to the overall feeling, and makes it look older than it is. Curator: Consider how the production of ink itself relies on specific locales and expertise. The dark, almost crude ink work contrasts with finer linework depicting the figures. Do you notice any areas where Tessai may have chosen a different application of ink to describe labor or power structures, either physically or within its creation? Editor: Perhaps in the faces? The details around the facial expressions feel more controlled, somehow highlighting their individual character more effectively. I would guess that’s intentional. Curator: Exactly. The application suggests intent. Reflect on the consumption of such an image. Who was the intended audience, and how might their social context shape their understanding of both the image and its production? Editor: So, beyond the scene, the *way* it's made and who would view it at the time contributes a lot. Curator: Precisely! By analyzing the materials and their applications we gain new layers of insight on the image and the era it reflects. Editor: That’s given me a whole new way of looking at art and production, not just the final picture. Curator: It is about revealing layers in the artwork while unearthing labor and materials often overlooked.