No. 1: Liu Bei (Sono ichi: Ryubi), from the series "Three Heroes of Shu (Shoku sanketsu)" c. 1824

Curator: Yashima Gakutei’s “No. 1: Liu Bei” is a fascinating example of 19th-century Japanese printmaking. Editor: It’s striking, particularly the robe with its dense pattern. What interests you most about this work? Curator: The print’s materiality immediately grabs me. The woodblock technique allowed for mass production, influencing access to images and narratives. Ukiyo-e prints were often collaboratively produced; can we unpack who created this specific piece and the cultural implications of their choices in production? The print becomes less about individual artistic genius and more about systems of labour, commodification and distribution within Edo society. The quality of the paper, the pigments used, and the precise carving of the woodblocks all tell a story. Editor: So you're looking at how this print circulated as a commodity and the processes behind its creation? Curator: Precisely! Think about the historical context: these prints were relatively affordable, consumed by a broad audience, and played a role in shaping perceptions of historical figures like Liu Bei. How did the availability and consumption of these prints change perceptions of history and heroism for everyday people? It moved depictions out of solely elite patronage. Editor: I never considered the print as a form of mass media! Curator: It was, in a sense. Studying these production elements provides critical insight into socio-economic structures, blurring the boundaries between high art and popular culture. Editor: This changes everything about how I viewed this print! Thanks for pointing out the material processes.