The Capture of Kidomaru by Minamoto no Raikō (Minamoto no Yorimitsu; Kidōmaru) c. late 19th century

Curator: Kuniyoshi's print, "The Capture of Kidomaru by Minamoto no Raikō," bursts with an energy that feels almost unsettling, doesn't it? Editor: Absolutely. The dynamism is striking, but what grabs me is the materiality. Look at the woodgrain visible in the dark ground, the layers of ink soaking into the paper. It speaks to the process, the labor of creation. Curator: I'm drawn to Kidomaru's expression—a defiance that flirts with madness. The tension between him and Raikō is palpable, heightened by those gorgeous, intricate patterns on their robes. It's more than just decoration; it's a visual symphony of power and rebellion. Editor: And those patterns themselves! They're not just pretty; they're commodities, products of the textile industry. They root this heroic narrative in the real world of production and consumption. Raikō isn’t just a warrior; he’s a consumer, adorned in the spoils of his status. Curator: Perhaps Kuniyoshi is suggesting that even heroism is constructed, reliant on the materials and social structures of the time? Editor: Precisely. It's a reminder that every image, every narrative, is embedded in a web of material conditions. I find myself thinking about the artisans who actually produced such works, who remain uncredited here. Curator: It adds another layer, doesn't it? Food for thought, indeed.